"Arts, Faculty of"@en . "Social Work, School of"@en . "DSpace"@en . "UBCV"@en . "McCosham, Beverley Jane Jerome"@en . "2012-03-26T18:52:25Z"@en . "1951"@en . "Master of Social Work - MSW"@en . "University of British Columbia"@en . "This study investigates the special values of cultural arts programmes in leisure-time agencies. First, the contribution that cultural arts make to the broader field of recreation is studied. Then there are more detailed studies of the segments of cultural arts programmes. Social group workers should know some of the basic concepts of the administration of such a programme and its function in the total agency structure. Special sections are included on specific cultural arts as programme content: music, dancing, painting, drawing and design, drama and theatre, ceramics, other cultural programmes. The values of cultural arts to the members and how the leader uses the arts in helping the member develop are important. The broader aims of cultural arts and the way in which a cultural arts programme is established are discussed.\r\nMaterial used in this thesis was gathered from many group work agencies. Replies to a set of questions were received from twenty-six people who represented eleven recreation agencies in Canada, and fifteen agencies in the United States. Y.M.C.A's, Y.W.C.A's, settlement houses, neighbourhood houses, and community centres are represented. The main material is derived from interviews with staff people from four Vancouver agencies: The Young Men's Christian Association, The Young Women's Christian Association, Gordon Neighbourhood House (both Senior and Junior houses), and Alexandra Neighbourhood House. Other information was received from correspondence.\r\nThe study throws light on the contribution that cultural arts programmes can make to group work agencies. Cultural arts help to develop the personality of the members and provide an excellent medium through which leaders can work effectively. Arts present exceptional opportunities for improving the quality and richness of programme content. Cultural arts programmes can be a part of the total philosophy and function of the agency.\r\nThe evidence is, that in group work agencies, cultural arts have not received the emphasis that should be placed on them. Examples reviewed in this study show that art and social group work are compatible. There seems to be a tendency for cultural arts to be more developed in longer-established agencies. It remains for the smaller and \"younger\" group work agencies to realize the values inherent in cultural art activities. The development of art activity in group work agencies depends upon an understanding of its contribution to individuals and groups. The total picture shows that the broad values of cultural arts programmes in group work agencies are recognized far more than they are put into practice."@en . "https://circle.library.ubc.ca/rest/handle/2429/41767?expand=metadata"@en . "CULTURAL ARTS IN GROUP WORK AGENCIES by BEVERLEY JANE JEROME McCOSHAM Thesis Submitted i n P a r t i a l F u l f i l m e n t of the Requirements f o r the Degree of MASTER OF SOCIAL WORK i n the School of S o c i a l Work 1951 The U n i v e r s i t y of B r i t i s h Columbia CULTURAL ARTS IN GROUP WORK AGENCIES. This study investigates the s p e c i a l values of c u l t u r a l a r t s programmes i n leisu r e - t i m e agencies. F i r s t , the contribution that c u l t u r a l arts make to the broader f i e l d of recreation i s studied. Then there are more d e t a i l e d studies of the segments of c u l t u r a l a r t s programmes. S o c i a l group workers should know some of the basic concepts of the administration of such a programme and i t s function i n the t o t a l agency structure. Special sections are included on s p e c i f i c c u l t u r a l a r t s as programme content: music, dancing, painting, drawing and design, drama and theatre, ceramics, other c u l t u r a l programmes. The values of c u l t u r a l arts to the members and how the leader uses the arts i n helping the member develop are important. The broader aims of c u l t u r a l arts and the way i n which a c u l t u r a l arts programme i s established are discussed. M a t e r i a l used i n t h i s t h e s i s was gathered from many group work agencies. Replies to a set of questions were received from twenty-six people who represented eleven recreation agencies i n Canada, and f i f t e e n agencies i n the United States. Y.M.C.A's, Y.W.C.A's, settlement houses, neighbourhood houses, and community centres are represented. The main material i s derived from interviews with s t a f f people from four Vancouver agencies: The Young Men's C h r i s t i a n Association, The Young Women's Ch r i s t i a n Association, Gordon Neighbourhood House (both Senior and Junior houses), and Alexandra Neighbourhood House. Other information was received from correspondence. The study throws l i g h t on the contribution that c u l t u r a l arts programmes can make to group work agencies. C u l t u r a l a r t s help to develop the p e r s o n a l i t y of the members and provide an excellent medium through which leaders can work e f f e c t i v e l y . Arts present exceptional opportunities f o r improving the q u a l i t y and richness of programme content. C u l t u r a l a r t s programmes can be a part of the t o t a l philosophy and function of the agency. The evidence i s , that i n group work agencies, c u l t u r a l arts have not received the emphasis that should be placed on them. Examples reviewed i n t h i s study show that a r t and s o c i a l group work are compatible. There seems to be a tendency f o r c u l t u r a l a r t s to be more developed i n longer-established agencies. I t remains f o r the smaller and \"younger\" group work agencies to r e a l i z e the values inherent i n c u l t u r a l a r t a c t i v i t i e s . The development of art a c t i v i t y i n group work agencies depends upon an understanding of i t s contribution to i n d i v i d u a l s and groups. The t o t a l p i c t ure shows that the broad values of c u l t u r a l arts programmes i n group work agencies are recognized f a r more than they are put into p r a c t i c e . TABLE Of CONTENTS. > Chapter 1 . Contribution of Cultural Arts to Recreation. An introduction to recreation, leisure, and the focal point of the present study. Definition of culture, cultural arts, and group work agency. The influence of cultural arts on leisure-time agencies, and the national implications. Art as i t affects a l l groups of people. Chapter 2 . Administration of Cultural\"Arts Programmes. Four Vancouver agencies compared. Some comparisons with agencies in Canada and the United States. Origins of such programmes. Means of determining members' interests. Finance. F a c i l i t i e s . Community Music Schools. Chapter 3. Content of Cultural Arts Programmes. The values of music, dancing, painting, drawing and design, drama and theatre, ceramics, other cultural arts programmes. Attendance and desirable group size. Mass programmes. A review of group work agencies in and outside Vancouver. Chapter J+. Participation i n Cultural Arts Programmes. A discussion of the membership i n terms of the emphasis that i s placed on personality and on s k i l l . The people who come to cultural arts programmes. Reasons why they come to cultural arts programmes. Trends of cultural arts i n group work agencies. Chapter 5. Leadership in Cultural Arts Programmes. The a r t i s t : training as i t exists: training that, i s desirable. The social group worker: necessary qualifications; how the group worker helps individuals and groups. Chapter 6. Conclusions. The aims of cultural art ac t i v i t i e s . Demonstration of the need. ' Establishing a cultural arts programme in relation to the members, the leader, the programme content, and the administrative structure. Challenge to group workers. Appendices: Sample of the letter. Sample of the questionnaire. Organizations represented in replies to questionnaires. Bibliography. A B C D CHARTS LN THE TEXT ' Photographs of Plans and Models of two Okanagan Community Centres (following page 25) Pr i n t e d with permission of the a r c h i t e c t s . CULTURAL ARTS IN GROUP \u00E2\u0080\u00A2 WORK .AGENCIES-- 1 -CHAPTER I CONTRIBUTION OF CULTURAL ARTS TO RECREATION. Introduction: Recreation. Recreation reveals the very essence of. our person. Children, adolescents, and adults have an opportunity, through recreation, to express t h e i r i n t e r e s t s and needs - those which can be s a t i s f i e d by the i n d i v i d u a l and those which a r e best f u l f i l l e d by the group. The re-creating aspect of recre a t i o n often embraces.the re-creation of the p h y s i c a l , or mental, or emotional part of an i n d i v i d u a l , and the re-creation of something s p e c i f i c a l l y apart from the person. In every case, recreation c u l t i v a t e s people and the world i n which they l i v e . The values of recreation are innumerable. \"Adults need to f i n d i n t h e i r a c t i v i t i e s some of the same s a t i s f a c t i o n s that children\" f i n d i n t h e i r play: mastery over s e l f and over materials, environment, and s i t u a t i o n s j w i s h - f u l f i l l m e n t ; some fantasy; some escape from r e a l i t y and the superego (conscience); fun and laughter; and the norms f o r es t a b l i s h i n g h e l p f u l s o c i a l r e l a t i o n s h i p s . \" More emphasis i s being placed on the values of l e i s u r e time i n the growth of the i n d i v i d u a l ; t h i s i s a r es u l t of the -trends i n our d a i l y l i v i n g which allow more \"free \" time. Increased mechanization i n industry necessitates a d d i t i o n a l time f o r l e i s u r e . . Employers f i n d that more work i s accomplished i n a shorter time now; but the p r o f i c i e n c y of employees decreases more r a p i d l y because of the r e p e t i t i o n involved i n mass production type of work. More l e i s u r e f o r employees pays! S i m i l a r factors are true i n the l i v e s o f our homemakers; s c i e n t i f i c gadgets are minimizing housework time. Unemployment increases because machine work i s ddisplacing man-labour, with the r e s u l t that l e i s u r e time i s even forced upon people. Leis u r e . George Lundberg describes l e i s u r e adequately; (1) Wilson, G., and Ryland, G., S o c i a l Group Work P r a c t i c e . Cambridge, Houghton M i f f l i n Co., 194-9, p 209. \"Leisure i s popularly defined as the time we are f r e e from the moie obvious and formal duties, which a paid job or other obligatory occupation imposes upon us..-.. In a l i m i t e d sense, l e i s u r e i s p r i m a r i l y an a t t i t u d e , a state of mind, a process of pleasurable adjustment to one's s i t u a t i o n . Leisure i n t h i s subjective sense w i l l always depend.upon personality, temperament, education, and the a c t i v i t i e s that have preceded.\" Recreation i s the a c t i v i t y of our l e i s u r e time and i s i n no way an escape i n t o nothingness. Recreation helps to reveal and to develop the p e r s o n a l i t y of people. Focus. Because of the broad scope of such a subject, t h i s study w i l l focus on one aspect of recreation, s p e c i f i c a l l y , the c u l t u r a l a r t a c t i v i t i e s i n leisure-time agencies. What are the values of c u l t u r a l a r t s programmes i n leisure - t i m e agencies and what are the advantages and disadvantages of organizing such programmes? Co-ordination and organization on the community l e v e l , i n t h i s instance, i s being omitted. This study is-concerned with the c u l t u r a l programmes within the Young Men's C h r i s t i a n Association, the Young Women's Ch r i s t i a n A s s o c i a t i o n , the settlement house, the neighbourhood house, and the community centre. I t i s an int e n s i v e and i n t e r n a l view of c u l t u r a l arts as programme media. -The more general implications of administration, programme content, membership, and leadership are discussed as they r e l a t e to c u l t u r a l arts programmes i n the recreational s e t t i n g . Interviews were made with s t a f f members from these Vancouver agencies: The Young Men's C h r i s t i a n Association, the Young Women's C h r i s t i a n Association, Gordon Neighbourhood House (both Senior and Junior houses), and Alexandra Neighbourhood House. C u l t u r a l a r t a c t i v i t i e s i n four Vancouver agencies and i n agencies outside Vancouver are compared. A questionnaire was used to compile t h i s ( 2 ) Lundberg, George A., Leisure: a Suburban Study. New York, Columbia U n i v e r s i t y Press, 1934-- 3 -information; the interview schedule was also based on t h i s s e t of questions. Twenty-six r e p l i e s were received from people representing agencies other than the four Vancouver centres. Additional information was received from correspondence. In Canada, a t o t a l of eleven r e p l i e s came from people who represented nine c i t i e s . Two of these sets of questions were answered-by I.M.C.A. people; two other sets came from Y.W.C.A's. The majority of replies-came from centres i n Ontario. Ten c i t i e s were represented i n the f i f t e e n r e p l i e s that arrived from \u00E2\u0080\u00A2 the United States. Of these, f i v e answers represented Y.W.C.A. thinking. The (3) remainder were received from settlement houses. D e f i n i t i o n . For the purpose of t h i s study, \" f i n e arts'\", \u00E2\u0080\u00A2 or more i n c l u s i v e l y \" c u l t u r a l a r t s \" , have been given a broad i n t e r p r e t a t i o n - those a r t s i n which the mind and imagination are c h i e f l y concerned. Thus, c u l t u r a l a r t s include music, dancing, painting,.drawing and design, engraving, drama and theatre, architecture, sculpture and modelling, and decoration and ornament.- In i t s usual meaning, a r t presupposes that an element of s k i l l i s involved; a r t aims toward something b e a u t i f u l . The end r e s u l t of a r t i s a product u s u a l l y v i s i b l e and d i f f e r e n t from nature. However, s o c i a l group workers'are very interested i n the i n v i s i b l e products of a r t programmes, and t h e i r e f f e c t s on the p a r t i c i p a n t s . The way i n which the a r t develops, the r e s u l t s of the a c t i v i t y , and the e f f e c t s of the f i n i s h e d product on the p a r t i c i p a n t , are of utmost importance.. S o c i a l group workers are p r i m a r i l y concerned with r e l a t i o n s h i p s - of'the i n d i v i d u a l s to one another, to- the leader, and to the programme i t s e l f . The a c t i v i t y i s a medium through which these r e l a t i o n s h i p s are expressed. D i f f e r e n t meanings may apply to the word \"culture\" - c i v i l i z a t i o n (3) For a complete l i s t of Organizations represented i n r e p l i e s to/questionnaires, See Appendix C. _ 4 -i n the sense of development; as applied to an i n d i v i d u a l , culture implies a so r t of i n t e l l e c t u a l refinement. Culture emphasizes development, or advancement, or improvement of the i n d i v i d u a l or the group, or on a broader plane, of the whole society. This study i s concerned with c u l t u r a l a r t programmes i n group work agencies, and p a r t i c u l a r l y , t h e i r efffects on the i n d i v i d u a l and on the group. However, the broader culture of the whole society i s involved. The i n d i v i d u a l , the group, and society are interdependent, but t h i s i n v e s t i g a t i o n w i l l focus on the i n d i v i d u a l and on the group and omit the broader implications. I f the philosophy of the worth of every i n d i v i d u a l and h i s r i g h t s as a human being i s accepted, i t follows that c u l t u r a l a c t i v i t y must be at the disposal of everyone. \"Leisure-time agencies\" describes i n one phrase, a great v a r i e t y of r e c r e a t i o n a l establishments. Members spend t h e i r l e i s u r e hours p r o f i t a b l y i n these agencies. In a rec r e a t i o n a l context, s o c i a l group work comprises the methods of f a c i l i t a t i n g i n t e r - a c t i o n between members of a group so that they b e n e f i t by the best that recreation has to o f f e r . The worker p a r t i c i p a t e s i n t h i s i n t e r a c t i n g process as an enabling person. S o c i a l group work i s the \"how\" of recreation, the means of improving q u a l i t y i n the group experience i n two areas: that of helping i n d i v i d u a l s develop emotionally, mentally and p h y s i c a l l y ; and that of helping 1 the group achieve d e s i r a b l e aims. The s o c i a l group work process i s democratic; i t i s educational; i t i s the desirable method f o r workers to use i n leisure-time a c t i v i t i e s . I t i s with these things i n mind that the popular term \"group work agency\" (which implies use of the group work method i n the agency) w i l l hereafter be used interchangeably with the term \"leisure-time agency\". Set t i n g . The Young Men's and Young Women's Ch r i s t i a n Associations, the settlement house, the neighbourhood house, and the community centre are group work agencies i n which cultural- a r t s are made a v a i l a b l e to people. The Y i s both an - 5 -organization and a\"movement, which fosters 'understanding, justice, and opportunity for people in countries throughout the world. Democracy and Christian f a i t h are coupled ih serving young people, and are symbolized by the triangular aim of achieving physical health, mental growth, and spiritual strength. I t i s necessary to introduce national and international implications whenever the Y.M.C.A. and Y.W.C.A. are being considered. Each organization i s autonomous, and i s indigenous to i t s own country. This independence fosters a variety of activity within a single purpose. . A national organization helps to bring individual organizations together and to develop a common philosophy. Because of their experience,. staff members of a national organization also provide services of a kind that no agency can give I t s e l f - such as advice' on programme and on building. National employees recruit, train, and place personnel, and have a relationship to men and women in the armed forces. Staff people of a national organization also provide a general service which i s principally related to programme; they supply materials on music, business, and art. Programme in a Y must be rooted in the purpose and function of the association. The purpose of the Y i s to meet the f e l t and growing needs of i t s membership and community, and to undertake to build a responsible membership which ultimately directs the organization, so that i t may be a beneficial social force. The next leisure-time agencies to develop hist o r i c a l l y were the settlement houses. Toynbee Hall, the f i r s t settlement house, was founded in England i n I884.. The settlement house movement also developed in North America. Individuals who had something worthwhile to offer to poverty stricken people, came to stay in these settlement houses and teach their s k i l l to the needy families l i v i n g there. - A missionary zeal was apparent i n settlement house workers. - 6 -A resume of the h i s t o r i c a l development of c u l t u r a l a c t i v i t i e s i n settlement houses on the continent, shows development i n the eastern United States from 1886 to 1896. There were l e c t u r e s i n concert h a l l s , amateur dramatics, p i c t u r e exhibitions, classes i n music, drawing, and modelling. In 1891, H u l l House i n Chicago had a g a l l e r y and studio, and other centres had choral s o c i e t i e s . Graphic-plastic a r t s were developed a f t e r t h i s and drama came to the fore, so that by 1915, intersettlement drama leagues had developed; the \" l i t t l e theater\" movement was to be developed l a t e r . At the same time, there were forty-three music schools and departments founded; settlements also p a r t i c i p a t e d i n the dance movement. A r t g a l l e r i e s were established. Since that time much progress has been made i n establishing c u l t u r a l a c t i v i t i e s i n settlement houses, and the endeavour has proven worthwhile. Music c r i t i c O l i n Downes, enumerates the values of musical \u00E2\u0080\u00A2 a c t i v i t i e s i n settlement houses: \"I do not know of any educational work i n music which I consider as a whole of such value to the population of New York C i t y 'as the work that the music settlement schools are conducting... they are f o s t e r i n g substantial musical accomplishment, the development of taste, the love of a r t and a dis c r i m i n a t i n g appreciation cof\ the part of a stratum of population which would not otherwise be reached at a l l . In Europe i t has been easier, i n the past, f o r the boy or g i r l born i n poverty to secure excellent musical t r a i n i n g than i t has been i n America, but i n s o f a r as the work of the musical settlement has spread t h i s condition has been remedied. Not only t h i s : the d i s t r i c t s a f f e c t e d by t h i s musical i n s t r u c t i o n are n u c l e i from which higher musical standards w i l l be c e r t a i n to spread and r a d i a t e a r t i s t i c benefit to increasing numbers of the population. I f democracy means anything at a l l i t means that a culture must have i t s roots down deep i n the human s o i l . \" I t i s possible f o r people to receive comparable advantages from other a r t s i n s i m i l a r s e t t i n g s . The neighbourhood house i s a more recent development of the settlement house. Workers u s u a l l y do not l i v e i n the neighbourhood house. The agency (4) National Federation of Settlements, Settlements 60th Anniversary. New York, 194-6. - 7 -aims to serve a l l people who l i v e i n a defined area; i t i s these people's r i g h t to b e n e f i t by the neighbourhood house service. The next r e c r e a t i o n a l s e t t i n g which made c u l t u r a l a c t i v i t i e s a v a i l a b l e to people was the community centre. \"A community centre has been described as a place within easy reach of home where i t i s possible to meet friends and neighbours ... a sort of community l i v i n g room, c r a f t shop, gym, workshop and concert h a l l r o l l e d into one. I t i s a place where you can enjoy the l e i s u r e - t i m e a c t i v i t i e s you have always wanted to take part i n . I t i s a club f o r the community, open to everyone i n the neighbourhood regardless of economic p o s i t i o n , creed, race or colour.\" This description might also apply to the modern concept of settlement and neighbourhood houses. Group work agencies should provide a c t i v i t y which w i l l complement a man's occupation. I f much of a person's working day i n industry i s concerned w i t h a s p e c i f i c task, then the r e c r e a t i o n centre should provide creative a c t i v i t y which w i l l bring relaxation f o r him and which w i l l a s s i s t i n re-creating h i s energy and outlook. Group work agencies should supplement services which e x i s t i n the neighbourhood. People p r e f e r to do something more creative than to dipend on commercial entertainment - leisure-time centres a r e able to s a t i s f y t h i s need. The home as the place to spend l e i s u r e time i s gradually weakening, p a r t l y because of l i m i t e d physical f a c i l i t i e s . The group work agency i s also being looked to as a place f o r s o c i a l l i f e . \"In the expansion of true community centres (group work agencies), Canada may well f i n d h e r s e l f as a nation. The centres w i l l be schools of democratic l i v i n g and c i t i z e n s h i p . The r i c h e r and more varied s o c i a l l i f e of Canadians w i l l be manifest not only i n the neighbourhood but throughout the country as a whole. The broader outlook and wider i n t e r e s t s of the i n d i v i d u a l and of the l o c a l community w i l l create a new community of i n t e r e s t s on a n a t i o n a l scale. The community centre (leisure-time agency) movement w i l l provide a new o u t l e t f o r the work of musicians, painters, actors, sculptors and other a r t i s t s and so give a tremendous stimulus to the a r t s i n Canada... (5) Canadian Association f o r Adult Education, Proposals f o r Government Action To A s s i s t Community Centres and Leisure Time Programmes i n Canada, 1946, p i . - 8 -A community centre (group work agency) designed to meet the needs of the whole community, and whose programme i s broad enough to include the f a m i l y as the important u n i t i n the community can be of,great help i n preserving the unity, and hence the happiness, of the home.\" Group workers can help people use t h e i r l e i s u r e hours p r o f i t a b l y ? they can enable members to engage i n a c t i v i t i e s which w i l l counteract the d e f i c i e n c i e s they meet i n l i f e . National E f f e c t . The recreation movement i n Canada can also be a workshop to teach tbe- democratic l i v i n g and to d i s t r i b u t e the work of Canadian painters, musicians, actors and other a r t i s t s . The extensive use of c u l t u r a l a c t i v i t i e s i n a r e c r e a t i o n a l s e t t i n g w i l l help to transcend class, p o l i t i c a l , economic and r a c i a l d i f f e r e n c e s and w i l l a s s i s t i n bringing about a c u l t u r a l unity. C u l t u r a l a c t i v i t i e s w i l l also v i t a l i z e and give n a t i o n a l meaning to r e c r e a t i o n a l programmes i n Canada. Such programmes w i l l r a i s e standards of l o c a l a c t i v i t y , and they w i l l contribute to mutual understanding of Canadians. C u l t u r a l a c t i v i t i e s i n recreation can work f o r n a t i o n a l unity. They can help to develop happier people, and they can enable Canadians to achieve a unique p o s i t i o n i n the world. The creative a r t s stand i n an important p o s i t i o n i n the economy of the n a t i o n i Other basic contributions (besides Canadian unity) are possible through the use of c u l t u r a l a r t s i n group work agencies. These are s o c i a l b e n e f i t s . People i n r u r a l communities are u s u a l l y not fortunate i n having the opportunity -of-doors setting. The importance the community places on an a r t a c t i v i t y w i l l also have i t s e f f e c t . - 50 -A s t a f f person, from one of the group work -agencies outside Vancouver, remarked that schools and churches are competing f o r the time of the c h i l d r e n ; they have l i t t l e time l e f t f o r s a t i s i f y i n g accomplishment i n anything else, unless there i s a very great urge f o r a r t a c t i v i t y within the i n d i v i d u a l or at home. Most of the agency people have found that i f a change i n c u l t u r a l arts programmes has been noticeable, i t i s an increase i n a r t a c t i v i t y . This may r e s u l t from c u l t u r a l programmes and t h e i r values becoming bet t e r known and appreciated.' To a large extent, increasing the trend of i n t e r e s t i n a c u l t u r a l a r t programme i n a group work agency i s dependent upon the members and the leaders. - 51 -CHAPTER V LEADERSHIP IN CULTDEAL ARTS PROGRAMMES.ff The leadership of a cultural arts programme can neither be separated from the membership nor the activity. The three are inextricable. The quality and success of an art programme i s contingent upon proficient leadership. The importance of good leadership i s reinforced by the following excerpt. , !For some reason or other, the professional training i n group work has relegated the fine arts to a most secondary place and have given over craft to the group workers who have reduced i t often to a sort of \"busy work\". While I am thoroughly in sympathy with training in group work, and also the use of group work technique for integration, I feel that the arts must f i r s t of a l l be taught by people who are artist s , and qualified in their own specialties. Some of these have been and are the best group workers that I know, and there i s no reason why the tro \u00E2\u0080\u00A2cannot be joined happily.\" -*2) Artist. F i r s t of a l l , the leader of an a r t programme must be a qualified a r t i s t . The Vancouver Y.M.C.A. calls upon city specialists to lead cultural art classes. The boys worker stated that he would rather not give an art programme than have one with inadequate leadership, because a poor beginning in art a c t i v i t i e s may discourage a member from interest in the art for the remainder of his l i f e . The Y.W.C.A. also attempts to get leaders who have the best possible training. Gordon House a r t workers are professionally trained, for the most part. Two leaders are Vancouver Art School graduates; one has had additional training i n university of B r i t i s h Columbia art courses and the other leader has studied i n California. The full-time worker i s a Winnipeg Art School graduate with experience in the Winnipeg Y.W.C.A. Another person has been trained at # For further discussion of Leadership see Chapter VI, Developing & Cultural Arts Programme, Specific Programme - The Social Group Worker as a Cultural Arts Leader. {22) Letter from Peck, L i l l i e M., Secretary, National Federation of Settlements, Inc., New York, December 5, 1950. - 52 -the Gordon House A r t Centre and i n the u n i v e r s i t y a r t courses. Another leader was trained at the North West Academy of Arts and Central Technical School i n Toronto. The leader who \"teaches\" basketry has learned t h i s s k i l l by h e r s e l f . Alexandra Neighbourhood House has a trai n e d leader i n a r t and one in dancing. Group work agencies i n Vancouver have not developed s u f f i c i e n t l y i n t h e i r thinking on a r t to r e a l i z e the absolute necessity of having p r o f e s s i o n a l a r t i s t s l ead c u l t u r a l a r t groups. But r e a l i z i n g i t or not, the f a c t s t i l l remains that these a r t i s t s must be made a v a i l a b l e to the agencies. Vancouver needs a co-ordinating job done by a city-wide organization which i s intere s t e d i n t h i s . The Community Arts Council of Vancouver can help search out w e l l -q u a l i f i e d a r t i s t s i n Vancouver and make them av a i l a b l e to our recreation centres. The Community Arts Council of Vancouver co-ordinates the work done by e x i s t i n g organizations i n the community. The Vancouver Musical and S o c i a l Club, the Vancouver L i t t l e Theatre, and the Canadian Author's Association are some of the member groups. Representatives of the a r t groups have an opportunity to meet together to exchange knowledge and to help each other solve problems. The purpose of these meetings i s to improve, by means of j o i n t planning, the services these groups o f f e r to Vancouver. Another way i n which the Community Arts Council i s a s s i s t i n g a r t groups i n Vancouver i s by a r e f e r r a l service. These groups are r e f e r r e d to f a c i l i t i e s and to leadership which are a v a i l a b l e i n the community. The a r t groups express desir e f o r help i n two major areas: they wish assistance i n organizing t h e i r own a r t group and they want to have a good group experience. And l a s t l y , work with leisure-time agencies i s also developing. Drama groups are being mobilized to produce children's plays which w i l l be made av a i l a b l e to the members i n group work agencies. There w i l l also be creative p a i n t i n g classes, musical concerts, dance groups, and - 53 -puppet classes. The people of the Community Arts Council of Vancouver believe that the r e a l v a l i d i t y of a r t comes i n helping people have r i c h e r l i v e s . The Community Arts Council i s a community service within the f i e l d of art which can contribute quantitatively and q u a l i t a t i v e l y (by supplying leadership and programme material) to cul t u r a l a r t programmes i n leisure-time agencies. Group work agency people i n Canada and the United States stress the necessity of having a r t i s t s lead c u l t u r a l a r t s programmes. The Educational Alliance i n New York demands a leader with a good and thorough, t r a i n i n g ; a l l leaders i n t h i s agency are n a t i o n a l l y known a r t i s t s . The Friends Neighbourhood Guild i n Philadelphia has a.music leader who i s a graduate of the Paris Conservatory and of the J u l l i a r d School i n New York. Cleveland Music School Settlement has bachelors, masters and doctorate degree people on the s t a f f . Generally, the Young Men's and Young Women's Christian Associations appear not to- have stressed professional tra i n i n g i n the a r t s to the extent that other agencies have done. An exception to t h i s i s the dance programme i n the Y.W.C.A. at Houston, Texas. The leader i n t h i s a c t i v i t y has a master's degree i n dance, one year study i n Germany and eight years of teaching experience. The Y.W.C.A. i n Winnipeg seems to have the most extensive a r t programme of Canadian Y.W.C.A's. The University Settlement i n Toronto also has highly trained art workers. The specialist-leaders i n c u l t u r a l art programmes w i l l welcome the opportunity to meet other a r t i s t s and sp e c i a l i s t s and to hear t h e i r views on s k i l l s and programme materials. The s p e c i a l i s t w i l l constantly seek to bring to his work new ideas and ins p i r a t i o n s . For t h i s reason, a r t leaders should have an opportunity to associate v/ith other a r t i s t s at l o c a l and national conferences. The a r t leader w i l l want the opportunity-to observe the work of - 54 -others a t p r o f e s s i o n a l and amateur performances - dance r e c i t a l s , music concerts, dramatic performances, e x h i b i t s . Subscriptions to technical and p r o f e s s i o n a l p u b l i c a t i o n s are likewise stimulating. Continued study i n schools, and b u l l e t i n s from museums, a r t g a l l e r i e s and u n i v e r s i t y extension departments, also contribute to the s p e c i a l i s t ' s continuing t r a i n i n g . S o c i a l Group Worker. S p e c i a l i z a t i o n and p r o f i c i e n c y i n the a r t , formulate one of the two necessary q u a l i f i c a t i o n s f o r people who lead c u l t u r a l a r t programmes i n s o c i a l group work agencies. The other necessity i s the personality of the leader, or h i s a b i l i t y to work with people, or h i s s o c i a l group work \u00E2\u0080\u00A2 s k i l l s ; c a l l i t what you may, i t i s the conscious use of the leader and h i s a r t i n helping others to b e n e f i t personally and a r t i s t i c a l l y from the a r t a c t i v i t y . The a r t leader influences the group members simply because he comes i n contact with them. How the s p e c i a l i s t works i s important. The four Vancouver agencies stress the q u a l i f i c a t i o n s of 'cultural leaders i n the area of personal a t t r i b u t e s . I t i s necessary f o r the leader to make the a r t i n t e r e s t i n g and not too t h e o r e t i c a l , i f people are to enjoy and b e n e f i t from the a r t . This implies an understanding of various age and developmental l e v e l s of the members. The leader's p e r s o n a l i t y and h i s approach to the a c t i v i t y i s more important than hi s age. The a b i l i t y of a leader to encourage the members' c r e a t i v i t y rather than t h e i r copying-other ideas, i s most worthwhile. This necessitates that the a r t s s p e c i a l i s t have an a b i l i t y to work with people - he i s able to s t a r t where the members are and to help them advance from there. For instance, a teen-ager i s not given a symphony as an i n t r o d u c t i o n to music. Each person - 55 -w i l l be helped to move from h i s o r i g i n a l standard, which w i l l be d i f f e r e n t from the l e v e l at which other members are. A leader does not lower standards by s t a r t i n g where the members are. Under no circumstances does the leader make the standard of performance more important than the i n d i v i d u a l . For example, i n some instances great harm can be done to a person i f h i s productions or a r t , say h i s pottery bowls, are thrown i n t o the waste basket. A c u l t u r a l arts programme may need more act i v e leadership because people are u s u a l l y not as ready to embark on a r t work as they are to p a r t i c i p a t e i n a s o c i a l group. Art can be a challenging a c t i v i t y . The leader must be aware that some people are not as apt to p a r t i c i p a t e i n an a r t programme as they are to take part i n other programmes, because to them the demands made on the p a r t i c i p a n t seem to be greater i n a r t . The leader aims to help the members develop creative a b i l i t y and s k i l l . The c u l t u r a l arts leader should accept, understand, and appreciate people, and have a democratic approach i n dealing with them. The group enjoyment must also be kept i n mind. I t i s d i f f i c u l t to improve the statements that Wilson and Ryland ^ 2 3) make i n des c r i b i n g the q u a l i t i e s necessary f o r a ' good leader. A c u l t u r a l arts leader should help i n d i v i d u a l s and groups through: \"His respect f o r Mman beings and t h e i r s o c i a l organizations and h i s b e l i e f i n t h e i r r i g h t to manage t h e i r own l i v e s . \" The a r t s p e c i a l i s t w i l l abide b y the member's decision in' a choice of colours f o r a painting, even although i t may v i o l a t e the a r t i s t ' s sense of colour. The leader w i l l work with that i n d i v i d u a l i n the framework of the group structure, as t h e members decide i t . An a r t group may or may not be highly organized.. (23) Wilson, G., and Ryland, G., S o c i a l Group Work Pr a c t i c e , Massachusetts, Houghton M i f f l i n Company, 1949, p 22. \"His acceptance of each i n d i v i d u a l and group as unique, and of the r i g h t of each to be d i f f e r e n t from every other.\" No s p e c i a l i s t can expect i d e n t i c a l r e s u l t s of two i n d i v i d u a l instrumentalists or of two orchestras, even although they are playing the same piece. \"His a b i l i t y to f e e l with i n d i v i d u a l s and groups without f e e l i n g l i k e them.\" An a r t i s t must understand how the members f e e l when they cannot achieve s a t i s f a c t o r y r e s u l t s i n a dramatic play. I f the leader f e l t l i k e them, he could not help them, to perform more adequately. \"His a b i l i t y to accept the h o s t i l i t y and agression as well as the love and a f f e c t i o n of i n d i v i d u a l s and groups with whom he works as normal reactions of human, beings toward one another.\" The ceramics leader could become very upset i f he d i d not r e a l i z e that a member was blaming him only as ajr-esult of true f e e l i n g s toward other people, perhaps the member's family. The p a r t i c i p a n t may have been so upset that h i s s k i l l i n modelling was. impaired. \"His a b i l i t y to understand the language of behavior and t o use hi s own behavior to the best i n t e r e s t s of the i n d i v i d u a l s and groups with whom he i s working.\" A s p e c i a l i s t who notices a youngster pa i n t i n g i n a red colour with short, disturbed strokes w i l l help' that c h i l d release her fe e l i n g s through the medium of pain t i n g , rather than on group members. \"His a b i l i t y to accept the concept that a l l behavior i s purposive, and that the a c t i v i t y of individuals\" and groups i s s i g n i f i c a n t to the people involved even i f i t seems meaningless to the observer.\" The f a c t that a whole group chooses to p a r t i c i p a t e i n ajuare dancing rather than i n f o l k dancing should r e v e a l something to the leader. For a group of g i r l s , i t may mean that boys l i k e to square dance and that there i s an opportunity presenting i t s e l f at school f o r a square dance. Perhaps one of the group members has such a strong influence on the others that they are persuaded to follow her choice. - 5 7 -\"His. a b i l i t y to accept i n d i v i d u a l s and groups even i f he must disapprove of t h e i r behavior.\" . A l e a t h e r c r a f t i n s t r u c t o r may d i s l i k e the members attacking one another with . t o o l i n g instruments and inform them so, but the leader gives no i n d i c a t i o n that he d i s l i k e s the members themselves. \"His a b i l i t y to accept the r o l e of authority with those i n d i v i d u a l s and groups who need the s e c u r i t y of l i m i t a t i o n s and narrowed horizons.\" A music s p e c i a l i s t helps members s e l e c t songs which they are capable of singing s u c c e s s f u l l y . \"His a b i l i t y to use authority without passing judgment.\" A water f i g h t between \"budding\" ceramics enthusiasts may demand use of authority. \"His a b i l i t y to be permissive and to widen horizons where i n d i v i d u a l s and groups need to be supported i n assuming greater personal and c o l l e c t i v e r e s p o n s i b i l i t y . I1 In a drama group, the worker recognizes the in s t a n t i n group development when i n d i v i d u a l s need to assume more r e s p o n s i b i l i t y f o r d i r e c t i n g and producing a play. ' \"His a b i l i t y to support i n d i v i d u a l s and groups i n factoring out the issues i n problems facing them, yet to r e f r a i n from i n d i c a t i n g the solutions.\" A s p e c i a l i s t i n drawing and design w i l l help the members r e a l i z e the wide range of choices i n design, but w i l l l e t them f e r r e t out the l i n e s to s u i t t h e i r own pattern. \"His a b i l i t y to support i n d i v i d u a l s and groups i n mailing and carrying out t h e i r own decisions.\" The leader w i l l help the group members carry through t h e i r own project to a successful conclusion. \u00E2\u0080\u00A2 \"His a b i l i t y to use h i s understanding of the s t r u c t u r e of the-p a r t i c u l a r group with which he i s working and to i n t e r p r e t the l i m i t a t i o n s of the functions provided by the s t r u c t u r e on the members of the group.\" The leader w i l l help members of a weaving group realize' that i f t h e i r group i s not organized s u f f i c i e n t l y to send a delegate to a members' co-ordinating committee, the group cannot expect to be drawn i n on plans that a l l other agency groups are i n i t i a t i n g . \"His a b i l i t y to understand and accept the purpose and function of the agency from which he receives the authority to give service to i n d i v i d u a l s and groups.\" The a r t s p e c i a l i s t should f e e l that h i s groups are an i n t e g r a l part of the t o t a l agency plan. What members learn i n a b a l l e t group must not run counter to agency p o l i c y . -\"His a b i l i t y to accept the limi'tations of agency functions and to encourage the c l i e n t s or members to use the serv i c e s of other agencies i n the community f o r help with needs which h i s agency i s not equipped to serve.\" The leader who finds an i n d i v i d u a l p a r t i c u l a r l y talented i n sculpture work, w i l l help that member acquire more advanced i n s t r u c t i o n outside the group or outside the agency. '\"His a b i l i t y to represent h i s agency e f f e c t i v e l y i n co-operative e f f o r t s of the community.\" The a r t leader w i l l be an agency delegate to a r t conferences, exhibits and concerts, and he w i l l helpothe agency benefit by h i s experiences i n these community events. \"His a b i l i t y to see the relationship-', between the i n t e r e s t s and needs o f the p a r t i c u l a r c l i e n t s or members with whom he i s working and those of society-as-a-whole and to take r e s p o n s i b i l i t y f o r p a r t i c i p a t i n g i n s o c i a l action about the unmet needs as an employee of the agency, as a member of the profession of s o c i a l work, and as a responsible c i t i z e n . \" The a r t leader understands that democracy i s p r a c t i c e d among members i n the a r t group. This same attitude of dealing vd.th' one another i s c a r r i e d beyond the c u l t u r a l a r t group to the c i t y , the province or state, the nation, and the world. The c u l t u r a l arts worker w i l l extend h i s outlook and assume r e s p o n s i b i l i t y beyond h i s immediate profession to that of the community and the world. T h i s s o c i a l consciousness plus a general c u l t u r a l background, an - 5 9 -academic background, and an i n t r i n s i c i n t e r e s t i n people and i n a r t are necessary. The following paragraph reveals.the q u a l i t y of understanding that the a r t s p e c i a l i s t can have with the group members. I t also t e l l s how the worker uses her knowledge and s k i l l s to enable many i n d i v i d u a l s to benefit by the a r t - i n t h i s case, drama. \"The s p e c i a l i s t who pursues his vocation i n a s o c i a l agency u s u a l l y f i n d s himself drawn in t o personal and s o c i a l as well as professional r e l a t i o n s h i p s with h i s c l i e n t e l e . He comes upon the member i n a relaxed and \" o f f guard\" frame of mind, engaged upon an agreeable project of h i s own choice. Their association - frequently that of fellow craftsmen, master and apprentice, f e l l o w sportsmen - i s conducive to confidences. As the s p e c i a l i s t gradually becomes aware of the i n d i v i d u a l emerging from the group as a personality, human problems and ambitions reveal themselves and challenge him to s o c i a l service as well as craftsmanship... The dramatics worker, whose prof e s s i o n a l standards may demand that she cast her ablest players f o r public productions, may f i n d , t h a t her s o c i a l understanding leads her to devise opportunities f o r developing also the l e s s talented of the group. She may experiment with the use of understudies, plan a r e p e t i t i o n of the performance with a second set of players i n the cast, arrange informal productions.for which she can draw upon newer and l e s s promising material, and i n which she can award a part to a player who needs to overcome a personal problem such as self-consciousness, f a u l t y d i c t i o n , a warped view of l i f e . She may concern h e r s e l f with preventing e x p l o i t a t i o n of the g i f t e d c h i l d , or t r y i n g to control a tendency of a talented group to become \"high brww\" or exclusive.\" ^ 4 ) The a r t leader i s constantly aware of the e f f e c t of the a r t on the members. The leader himself has a profound e f f e c t on the participants.- He must be genuinely i n t e r e s t e d i n people - be considerate, t a c t f u l , warm and f r i e n d l y . A leader's appreciation of d i f f e r i n g values and norms of people of d i f f e r i n g cultures and backgrounds, w i l l help him draw i n group members so that they can contribute to the a c t i v i t y and derive s a t i s f a c t i o n from i t . A personal philosophy i s a necessity i f a s p e c i a l i s t i s to support people who are d i f f e r e n t from himself and help them achieve s a t i s f a c t i o n s , rather than enjoy them himself. The worker i s a bearer of values - h i s own, the agency's, and those of the community. I f he i s to function i n a group work se t t i n g , the s p e c i a l i s t must be convinced of the value of autonomous group experience i n the personal and s o c i a l growth of i n d i v i d u a l s . L a s t l y , the c u l t u r a l a r t s ( 2 4 ) . Williamson, Margaretta, The S o c i a l Worker i n Group Work. New York, Harper and Brothers, p 164 . . leader must be able and w i l l i n g to make b r i e f records of happenings to i n d i v i d u a l s and to the group-as-a-whole, and to accept and use the help of the agency supervisor i n giving the highest q u a l i t y of service of which he i s capable.^5) The sum t o t a l q u a l i f i c a t i o n s d e s i r a b l e f o r a c u l t u r a l a r t s leader are t r a i n i n g i n a r t and i n s o c i a l group work. P r o f i c i e n c y i n these two areas w i l l include a l l the personal and pro f e s s i o n a l q u a l i f i c a t i o n s necessary f o r a c u l t u r a l arts leader i n a group work agency. Vancouver agencies have adequately emphasized the s o c i a l work background. Now i t i s necessary to develop the standard of service so that the importance of q u a l i f i e d a r t i s t s w i l l be stressed. Only when the a b i l i t i e s of the a r t i s t and the or i e n t a t i o n of the s o c i a l group worker are welded into one person, are group work agencies procuring the best which leadership f o r a c u l t u r a l a r t s programme affords. Good leadership w i l l help guarantee to the member benefits which the a r t a c t i v i t y and the agency philosophy can and should a f f o r d . (25) Wilson, G., and Ryland, G., S o c i a l Group Work P r a c t i c e . Massachusetts, Houghton M i f f l i n Company, 1949. - 61 -CHAPTER VI CONCLUSIONS. Aims of C u l t u r a l Arts Programmes. I t i s e s s e n t i a l to have an adequate understanding of the segments of a c u l t u r a l arts programme - the membership, the leadership, the programme f content, and the agency structure within which the programme operates. But what are the i n c l u s i v e aims, values, purposes of c u l t u r a l a r t s i n a group work setting? What should one look f o r i n es t a b l i s h i n g a good a r t programme? C u l t u r a l a r t a c t i v i t i e s have purposes which prove themselves to be more than worthy of the place group workers should give them i n l e i s u r e -time agency programmes. F i r s t of a l l , - c u l t u r a l a r t s are t o o l s which can be used to develop the p e r s o n a l i t y of the i n d i v i d u a l . One of the highest aims of human endeavour i s to provide the means of enriching i n d i v i d u a l experience and development. This, of course, necessitates helping the personnel and the programme meet the changing needs of the members; i t also means helping the p a r t i c i p a n t s be i n s p i r e d to something beyond what they might expect of themselves. Art i n recreation contributes obvious, more tangible advantages to p a r t i c i p a n t s , by exposing them to the influences of a r t which they might not have encountered i n t h e i r own homes or places of work. An appreciation well worth having i n l a t e r l i f e i s developed, and s k i l l s which provide a b e n e f i c i a l l e a r n i n g experience are acquired. S a t i s f a c t i o n i s gained both i n lea r n i n g a s k i l l and i n l e a r n i n g more about the a r t s . These c u l t u r a l arts create new i n t e r e s t s which lead to further study on an i n d i v i d u a l or group bas i s . New i n t e r e s t s often lend new enthusiasm to l i f e . The q u a l i t y of a r t w i l l i n c i d e n t a l l y be r a i s e d i f more people aire helped to appreciate a r t through - 62 -the art g a l l e r i e s and loan services and a re helped to acquire knowledge of the a r t forms by p a r t i c i p a t i n g i n the a r t themselves. Through an a r t group, members l e a r n to promote culture; they put higher values on the craftsmanship of everyday.articles and they enjoy more p o s i t i v e values i n ' l i f e . C u l t u r a l a r t s programmes i n leisure-time agencies also aim to give important i n t a n g i b l e s a t i s f a c t i o n s to people. The opportunity f o r people to t r y a r t is valuable. There i s a wide gamut of a c t i v i t i e s from which the i n d i v i d u a l may choose a desired one. C u l t u r a l a r t s are performed \u00E2\u0080\u00A2 many i n / s e t t i n g s , so that each i n d i v i d u a l w i l l most probably f i n d at l e a s t one to h i s l i k i n g . The a c t i v i t y s a t i s f i e s the desires within a person to be creative, to release emotional energy through expression, and to relax. Besides, i t ' s fun! Art i s a r e c r e a t i o n a l a c t i v i t y which meets the needs of the whole family - a r t encourages and f o s t e r s a s e n s i t i i v i t y to form, colour, texture, pattern. The p a r t i c i p a n t s ' appreciation of the arts and of the properties of nature are also enhanced. Through enjoyment of an a c t i v i t y there w i l l be a greater personal enjoyment of oneself and of others. The purpose of a l l c u l t u r a l programmes i n group work agencies is i n agreement with what Miss Gertrude F i e l d , former Director of the San Francisco Music School, says: \"We've had no geniuses or people,of world-wide reputation as performers. We have had a number of young people who are doing outstanding work. \"However, we f e e l that the greatest value of our work l i e s not n e c e s s a r i l y i n developing these enthusiastic and capable young people who are making a l i f e work of music; but rather i n the l a s t i n g i n t e r e s t of the great body of our students (parents and children) who have come to have an abiding d e l i g h t i n playing and hearing f i n e music. \"We see music at work here upon men and women, but e s p e c i a l l y -63-upon children - at work upon character and conduct, ambition and conceit, upon uncooperative natures; i n f a m i l i e s where p e r s o n a l i t i e s are not i n harmony. I t s power i s often akin to magic, i t s language universal; i t seldom f a i l s . \" The next l e v e l to which c u l t u r a l arts i n a r e c r e a t i o n a l s e t t i n g contribute worthily i s to the group. C u l t u r a l a r t a c t i v i t y provides a good medium f o r group expression; an e x h i l e r a t i n g f e e l i n g comes from being part of a group which i s working together and producing a wholeness, such as a choir i s able, to do. Group process develops as the i n d i v i d u a l s within the group develop. Opportunity i s provided i n c u l t u r a l arts programmes for the group to p a r t i c i p a t e i n a r t projects which aare a part of the t o t a l agency a c t i v i t y - t h i s w i l l encourage movement from the i n d i v i d u a l l y - c e n t r e d i n t e r e s t to more general i n t e r e s t i n the group, the agency, and the community. C u l t u r a l arts programmes .provide the p a r t i c i p a n t with opportunities of meeting new people. The aims of the c u l t u r a l arts programmes should be the same as the t o t a l agency programme aims. Cu l t u r a l a r t s also a f f e c t the community. They aim to present the f i n e s t c u l t u r a l programmes a v a i l a b l e to people and help them appreciate these programmes.. Art a c t i v i t i e s i n group work agencies aim to serve tie neighbourhood by encouraging r e a l i n t e r e s t and p a r t i c i p a t i o n . Art i s also one of the means of counteracting some of the e f f e c t s of a super-industralized society. These are some of the aims of c u l t u r a l a r t programmes. These aims have also shown r e s u l t s , which have been demonstrated by ar.t a c t i v i t y i n group work agencies. The purposes of the a c t i v i t i e s and t h e i r r e s u l t s prove the value of a r t to recreation. The. f a c t that agencies throughout Canada and the United States are e s t a b l i s h i n g and developing c u l t u r a l art programmes and departments, and enlarging on already e x i s t i n g ones, validates the place of c u l t u r a l a r t a c t i v i t i e s i n group work agencies. The next step i s t o develop a c u l t u r a l a r t s programme within an ^ency. Programme - a plan of future procedure. Programme planning i s a process - a continuous process. In developing a c u l t u r a l arts programme there are three elements involved: the members, the s o c i a l group worker ( a r t i s t , leader, or s p e c i a l i s t ) and the programme content. Programme planning i s both s p e c i f i c and general. The s p e c i f i c plan& are those made by members of groups to be c a r r i e d out within those groups; the general plans are those which are re l a t e d to the agency as a whole. ^6) S p e c i f i c Programme - members. \u00E2\u0080\u00A2 A c u l t u r a l a r t s programme i s determined by the needs of the members and i t must be an expression of t h e i r genuine i n t e r e s t . Programme must be f l e x i b l e to meet these changing needs. A c u l t u r a l a r t s programme i s a t o o l which provides f o r the ph y s i c a l , i n t e l l e c t u a l and emotional development of the i n d i v i d u a l . Through the a c t i v i t y the members reveal t h e i r p e r s o n a l i t y patterns; they express f r i e n d l i n e s s and anger; they learn to make decisions, accept r e s p o n s i b i l i t i e s , and they f e e l free to express themselves. Members should be i n t e r e s t e d i n a c u l t u r a l programme and f i n d that i t s a t i s f i e s them - otherwise they w i l l not continue to come. The member of an interest' or s p e c i a l a c t i v i t y group i s commonly transient - h i s attendance i s voluntary and h i s i n t e r e s t i s often sporadic. He u s u a l l y has no obvious incentives, such as parental influence, school c r e d i t s or marks, to make him work. In most cases, the a r t fee i n a group work agency i s low enough so that a member has no compunction about withdrawing because of expense. The member of a c u l t u r a l a r t s programme w i l l continue to come only i f he i s genuinely in t e r e s t e d . \ (26) Wilson, G., and Ryland, G., S o c i a l Group Work P r a c t i c e , Massachusetts, Houghton M i f f l i n Company, 194-9. - 65 -The same approach i s used i n s o c i a l group work i n developing any programme; there are the same purposes and the same democratic procedures. An a r t s k i l l i s one of the t o o l s used to develop the i n d i v i d u a l . A b i l i t y to do something w e l l , such as p a i n t or play an instrument, means a great deal to a person; t h i s s k i l l can be a step which helps develop the member, so.that he can achieve something and a t t a i n s a t i s f a c t i o n . Developing a s k i l l to extremes, because a member's interpersonal r e l a t i o n s h i p s are poor, i s not . the aim of s o c i a l group work. I f too high standards a r e stressed the beginner's e f f o r t s are not recognized. The means - what happens to a person i n the creation of an object - are compatible with the production of a r t . Sensational s t o r i e s are t o l d of the deprived l i v e s which so many a r t i s t s .have l i v e d . Helping masses of people to l i v e a f u l l e r , happier, more worth-while l i f e w i l l not s t i f l e genius but i t w i l l r a i s e standards; more people w i l l be capable of appreciating masterpieces and perhaps more people w i l l f i n d an expression f o r t h e i r genius by becoming aware of these media of creativeness. The members of the Federation of Canadian A r t i s t s recognize that a r t i s t s must be a part of the world i n which they l i v e . A r t i s t i c t a l e n t ocannot t h r i v e i n i s o l a t i o n ; i t must be nourished and enriched by many people and various experiences. \"The Federation's c o n s i i t n t i o n recognizes that a r t i s t s , no matter how varied t h e i r i n t e r e s t s and a c t i v i t i e s may be, can n e i t h e r develop nor e x i s t e f f e c t i v e l y i n i s o l a t i o n . They are a part of a l a r g e r society, and they are a f u l l y v i t a l and productive part only when they and the other elements of that society are able to achieve a s p i r i t u a l communication, and i n t e g r a t i o n and a mutual responsiveness that, up to the present, have been p a i n f u l l y l a c k i n g . \"With the i n t e n t i o n of remedying these d d f i c i e n c i e s , the Federation recognizes on equal terms, and encourages, four categories of membership: ( l ) p r o f e s s i o n a l a r t i s t s and art c r i t i c s , ( 2 ) amateur a r t i s t s , (3) laymen or associates, and ( 4 ) students. By bringing together i n i t s own membership these elements that too often work i n i s o l a t i o n , i t attempts to create an amalgam that w i l l have the p r a c t i c a l directness of the p r o f e s s i o n a l craftsman-a r t i s t and the imaginative v i s i o n of a r i c h e r and more s a t i s f y i n g existence that i s described - though i n d i f f e r e n t tongues - by a l l creative a r t i s t s and - 66 -by a l l laymen who are. responsive to a r t i s t i c and c u l t u r a l values.\" ^7) The u n i v e r s a l p o s s i b i l i t i e s of a r t Jas a meeting ground f o r a l l people are becoming more evident. The s o c i a l group worker as a c u l t u r a l a r t leader. The s o c i a l group worker-art s p e c i a l i s t helps the members plan programme. The group member's a b i l i t y i n t h i s respect w i l l depend on age range, previous experience i n making decisions, c u l t u r a l and educational background, r e l i g i o n , l i v i n g and working conditions, and other economic ' d i f f e r e n c e s . The programme planning w i l l be a f f e c t e d by the r e l a t i o n s of the members to one another and to the worker. The worker acts as a resource person, an adviser, i n helping the group develop programmes which w i l l arouse i n t e r e s t , meet needs, and broaden outlook. The c u l t u r a l a r t s leader or s o c i a l group worker, i n order to help the group evolve programme, must have an intimate knowledge of i n d i v i d u a l members. The worker must also be capable of recognizing the needs of the members - an achievement and r e s u l t of t r a i n i n g . I f the a r t leader or s o c i a l group worker i s imposing a programme on the membership, he must make an estimate as to the needs and i n t e r e s t of the p o t e n t i a l members. These needs may be revealed by a questionnaire, which w i l l be more successful i f the person i s asked to write down i n the spaces the a c t i v i t i e s i n which he i s i n t e r e s t e d . Check l i s t s are leading devices which often put ideas i n t o people's minds, so that on a suggestion of an a c t i v i t y they think they are in t e r e s t e d . This supposed enthusiasm too often wanes. Limitations of these methods^, such as that of the members wishing the a c t i v i t i e s which t h e i r leader desires, must be kept constantly i n mind. When a person i s imposing a programme, he i s wise to. s t a r t with a c t i v i t i e s which have been successful (27) Federation of Canadian A r t i s t s To: The Royal Commission on National Development In the Arts, L e t t e r s and Sciences, Ottawa, J u l y 1949, - 6 7 -i n the community and which are u n i v e r s a l l y successful. Regardless of whether a c u l t u r a l a r t s programme i s being developed on a r e l a t i v e l y l i m i t e d basis \u00E2\u0080\u00A2 or whether i t i s being developed i n an intensive way - the process must be dynamic. The specialist'who leads a c u l t u r a l a r t s programme helps to arouse i n t e r e s t , i f the way i n which he presents the a r t i s i n t e r e s t i n g and challenging: t h i s i s one way of r e t a i n i n g the group's attention. The a c t i v i t y must be of such a c a l i b r e that i t can s u c c e s s f u l l y compete with commercial entertainment. The c u l t u r a l a r t s s p e c i a l i s t may f u r t h e r increase the value of the c u l t u r a l a r t s programme by r e l a t i n g the a c t i v i t y to everyday l i f e , so that members can put what they l e a r n i n t o p r a c t i c e . Above a l l , the approach to a c u l t u r a l a r t s programme i s s o c i a l - i t i s i n terms, of the members. Because attendance i s l i k e l y to be i r r e g u l a r , frequent r e p e t i t i o n i s necessary and progress i s retarded. The c u l t u r a l arts leader r e a l i z e s that many members come to benefit s o c i a l l y , rather than to gain great p r o f i c i e n c y i n the a c t i v i t y ; f o r t h i s reason, he t r i e s to e s t a b l i s h an atmosphere conducive to these aims. Because of h i s s p e c i a l s k i l l s , the c u l t u r a l a r t s leader can contribute considerably to programme planning. His background or technical knowledge provides him with valuable ideas and he.is aware of p r a c t i c a l considerations of time; leadership, equipment. By experience, the s p e c i a l i s t w i l l be able to judge whether an a c t i v i t y i s best suited to i n d i v i d u a l or group endeavor; he w i l l t r y to include both. He w i l l help the nrombers include proj ects which stimulate the imagination and allow f o r development of new i n t e r e s t s . He w i l l encourage creativeness. Stressing the s o c i a l i m p l i c a t i o n s of a c u l t u r a l a r t does not c u r t a i l the a r t i s t i c values. The following i s an extract from a b r i e f from the Canadian - 68 -Arts Council published a few years ago. This i s a point .of view that recreation leaders need to take into account: \"The theatre i n Canada has suffered from the rmi-splaced enthusiasm of amateurs who have used i t purely f o r i t s r e c r e a t i o n a l values. This i s undoubtedly one of the main reasons f o r the decline i n the number of play-goers i n Canada. Thousands have seen naive' productions and have turned t h e i r backs on the l i v i n g theatre... The Canadian Arts Council d i s t r u s t s the short term community and volunteer courses being o f f e r e d by recreation a u t h o r i t i e s aimed at giving a smattering of technique i n various f i e l d s plus a knowledge of group work... There i s a tendency on the part of recreation leaders to believe that t r a i n i n g i n group i s the important consideration and. with t h i s basic technique plus a s u p e r f i c i a l knowledge-of t h e a r t s , proper leadership i n the a r t s i s secured. This a dangerous philosophy. A leader i n the a r t s must be thoroughly steeped i n t h i s f i e l d . . . \" (28) C u l t u r a l a r t s s p e c i a l i s t s should be p r o f i c i e n t i n the a r t s and they should have group work t r a i n i n g . Only with a combination of these two s k i l l s i s i t possible to look forward to b u i l d i n g both the a r t i s t and the a r t ; the degree of emphasis may be determined by the s p e c i a l i s t and the group to s u i t each p a r t i c u l a r i n d i v i d u a l or s i t u a t i o n . The Programme. The worker'helps the members plan the c u l t u r a l a r t s programme by l i s t e n i n g and observing; h i s actions are influenced'by what he learns about the group. The worker must be aware of what the group wants and needs, he must help the group to be aware of i t s needs, and then he must help the group p a r t i c i p a t e i n a c t i v i t y which w i l l help s a t i s f y these needs. The s p e c i a l i s t working i n a c u l t u r a l a r t s a c t i v i t y must be aware of ways of discovering and arousing i n t e r e s t . I t has been proven that c e r t a i n kinds of programmes s a t i s f y c e r t a i n types of groups. These \"assumed\" i n t e r e s t s must be adapted to the p a r t i c u l a r needs of the group and must not i n t e r f e r e with the decision-making process within the group. The \"expressed\" i n t e r e s t s are found through check l i s t s and questionnaires. I t i s the (.28) \"Letter from McEwan, E.R., Secretary, Recreation D i v i s i o n , Canadian Welfare Council, Ottawa, January 3, 1951. - 69 -r e s p o n s i b i l i t y of the g roup leader to recognize the needs that l i e beyond the expressed i n t e r e s t s , and to help the members f i n d s o c i a l l y acceptable ways of expressing t h e i r needs - i n a c t i v i t y . \"Implied\" i n t e r e s t s are determined by the members' voice i n f l e c t i o n s , a t t i t u d e s , actions, and they give the worker knowledge i n the l i g h t of ever-changing human behavior.'(29) In order that the c u l t u r a l a r t s p e c i a l i s t be equipped to help the group membersfeshion a programme which answers t h e i r deep desires, he must be traine d f o r awareness of these aspects i n a r t groups. The c u l t u r a l a r t s worker w i l l c u l t i v a t e discussions i n h i s group and encourage p a r t i c i p a t i o n i n decisions on planning and carrying out a c t i v i t y . In a ceramics group, the i n d i v i d u a l members should be encouraged to make t h e i r own decisions f o r t h e i r a r t i c l e i n regard to shape, colour, glaze;, the dramatics group may i t s e l f make the f i n a l choice of a play, j u s t as the music member suggests which composition he would l i k e to le a r n ; dancers have worked out effective.lrhythms by themselves. This i s the democratic approach - and ;one that has proven i t s e l f worthwhile. Williamson suggests' three.types of programme b u i l d i n g . The pre-arranged programme i s formulated a t n a t i o n a l , state, or l o c a l headquarters, with some pr o v i s i o n f o r adaptation to the group - f o r example, the f o u r - f o l d type of programme: s o c i a l , p h y s i c a l , mental, s p i r i t u a l . Another kind of programme i s that which i s evolved j o i n t l y by the leader and the group. The t h i r d type of programme, the pro j e c t approach, i s one i n which the leader guides the group from some immediate preoccupation to wider channels of i n t e r e s t - i n t e r e s t i n marionettes may encourage woodcarving, l i b r a r y research, dramatics, stage c r a f t and business management. (30) (29) Wilson, G., and Ryland, G., S o c i a l Group Work P r a c t i c e . Massachusetts, Houghton M i f f l i n Company, 1949. (30) Williamson, Margaretta, The S o c i a l Worker i n Group Work. New York, Harper and Brothers, 1929. L i m i t a t i o n s - i n materials and resources, finances, time, services - and philosophy of the agency, and s i t u a t i o n s , influence the development of the c u l t u r a l a r t s programme i n a group work agency. S e l f -conrtrol*and resourcefulness can be developed i n overcoming these l i m i t a t i o n s . There are l i m i t a t i o n s within the i n d i v i d u a l members. The a r t leader should keep these things i n mind and make sure that the a r t a c t i v i t y i s s p e c i f i c and known to be within the capacity of the i n d i v i d u a l or group. This i s one way'of giving s a t i s f a c t i o n and a sense of accomplishment to the members. The c u l t u r a l a r t s worker w i l l develop opportunities f o r u t i l i z i n g r e s i d u a l materials and ideas. The resources a s well as the needs are i n t e g r a l considerations of programme planning. Only with a knowledge of both these areas i s i t p o s s i b l e to enforce recommendations and improvements which w i l l eliminate programme gaps. The f a c i l i t i e s end events of the agency and the community, influence a c u l t u r a l arts programme. There should be opportunities to observe f i n e work i n a r t that has been developed by outstanding a r t i s t s i n the community and elsewhere. . There may be t r i p s to g a l l e r i e s , e x hibits and museums, d i s t r i b u t i o n of t i c k e t s to theatre productions, music r e c i t a l s , and dance and b a l l e t performances. C u l t u r a l a r t s groups w i l l be aff e c t e d i f they choose to contribute a concert, an operetta, a play, or an e x h i b i t to a major production of the agency or the community. J o i n t projects of t h i s type serve to increase awareness of the a r t s i n the community. General Programme. General programme plans r e l a t e to the agency as a whole - i t i s impossible to i s o l a t e any programme whatsoever. The agency-wide programme committee should be composed of representatives of the p a r t i c i p a n t s i n the - 71 -programme - a l l membership groups, interclub councils, special committees, continuing committees on boards, and community consultants on special areas. A cultural arts programme must be related to.the total programme of the agency. The executive director. The executive director also has responsibility in connection with the cultural arts programme. I t i s the duty of the executive director to see that the art programme i s integrated, that i t i s satisfactorily administered, and 'that i t evolves from personal to social or community concern i n scope. The executive director must know about the total programme -i t s intent, values, direction and the place of each programme In the whole agency programme. He must see that the cultural programmes are also determined with the community and agency objectives i n mind. He brings programme together in written form - a method of keeping informed. He must see that social analyses such as research,' facts, trends, are used i n programme building. The executive director i s the mediating function between parts of programme. He must give programme a central place in administration, by knowing what goes on and seeing that f l e x i b i l i t y permits change i f i t i s needed, and also by assigning programme responsibility. The programme should be constantly evaluated. ^31) The director or department head. The basic principles of programme planning similarly apply with regard to the director or department head and his place i n developing a cultural arts programme. He confers with the executive director and i s conditioned by equipment, staff, and budget. The art director i s responsible (31) Clark, M.L., and Teall, B., The Executive Director on the Job in a Membership Organization - Y.W.C.A. New York, The Woman's Press, 194-7. f o r carrying out d e t a i l s of p o l i c y agreed upon i n conference with a committee or with the executive. The d i r e c t o r estimates, purchases supplies and equipment, and assigns rooms. ' He i s aided i n s e l e c t i o n of s t a f f by means of interviews, a p p l i c a t i o n blanks, and reference l e t t e r s . In h i r i n g s t a f f , the d i r e c t o r has some supervision by the executive or committees. The d i r e c t o r i s i n charge of the organization of s t a f f , the, analysis of the job and the explanation of d u t i e s . He maintains standards. He i s a resource person f o r suggestions, methods, materials. He supervises s t a f f programme. In order to plan or re-plan a c u l t u r a l arts programme, evaluation i s c o n t i n u a l l y necessary. The I n d u s t r i a l Department of the Young Women's . C h r i s t i a n Association suggests c r i t e r i a f o r judging the educational values of programme. A c u l t u r a l a r t s programme i n a group work agency should meet these requirements. The a r t programme must be based on.actual, f e l t needs and i n t e r e s t s of the whole group. 1 I t should be f l e x i b l e , l ead to an increasing number of a c t i v e i n t e r e s t s , and provide opportunity f o r conscious choices and the consequences of these choices. A c u l t u r a l a r t s programme should provide an opportunity f o r the members to p r a c t i s e democracy by making plans, abiding by group decisions, sharing r e s p o n s i b i l i t y . There should be co-operation with wider s o c i a l groups. Above a l l there must be genuine (32) s a t i s f a c t i o n . J C u l t u r a l arts programmes can meet a l l these requirements. The contributions of c u l t u r a l . a r t s to recreation must be made known. No c u l t u r a l a r t s programme can be d eveloped unless a l l the foregoing i s considered and u t i l i z e d i n t e l l i g e n t l y . This method of development provides a s o l i d base from which to expand and vary a c t i v i t y , so that the agency may be assured that considerable time, e f f o r t , money are being expended (32) Williamson, Margaretta, The S o c i a l Worker i n Group Work. New York, Harper and Brothers, 1929. - 73 -worthwhilely. The value to the group members must be assured, and only by considering a l l the facets of developing a programme - from a l l the levels-of administration - can a c u l t u r a l arts programme be a stable, yet f l e x i b l e , segment of the t o t a l agency programme. Challenge. C u l t u r a l Art programmes are important i n r e c r e a t i o n a l settings. Miss Jean Maxwell of the National Federation of Settlements and Neighbourhood Centers sai d , \"Relationships are important but we have neglected other phases of our work. To-day the swing of the pendulum i s back to a c t i v i t i e s i n program... Some of the poorest a r t programs I have seen have been done by group workers...A job d e s c r i p t i o n f o r a s p e c i a l i s t and a s p e c i a l i s t supervisor has r e c e n t l y been included i n the personnel code.of the Federation. We get so i n t e r e s t e d i n jjuman r e l a t i o n s we neglect the a c t i v i t y . We forget the car has to have wheels as well as a d r i v e r ! \" *33) Group workers who are leading c u l t u r a l a r t s programmes i n l e i s u r e -time agencies must aim at and achieve a balance between a r t and group work s k i l l s . There i s no reason why the two cannot be compatible and workable so that the best of both s p e c i a l t i e s can be integrated and offered to people i n group work agencies. \"The c u l t i v a t i o n of the arts i s not a luxury but an e s s e n t i a l p r e r e q u i s i t e to the development of a s t a b l e national culture; and f o r t h i s reason j u s t i f i e s the expenditures of very considerable e f f o r t and money. Just as language i s necessary to the development of reason, so i s the more fundamental language of the a r t s e s s e n t i a l to the development of the basic emotional and imaginative nature that underlies reason and dominates act i o n . Without an adequate development of t h i s \"submerged seven-eights\" of man's nature any society that he creates must lack inner i n t e g r i t y , s e l f - r e l i a n c e , cohesion, and awareness of i t s e l f as an e n t i t y ; . . . \"The a r t s must not be dominated, regimented or exploited to serve s p e c i a l or narrow ends. Indeed, they cannot be so treated and s t i l l perform t h e i r n a t u r a l and p o t e n t i a l functions i n society. By d e f i n i t i o n s they are an unfolding and evolving expression of the inner consciousness of the i n d i v i d u a l or society. To i n t e r f e r e with t h i s process by the imposition of external controls w i l l defeat the very ends that t h e i r c u l t i v a t i o n i s intended to achieve. The i n d i v i d u a l , the society, and the governing body which imposes i t s e l f w i l l a l l i n e v i t a b l y be f r u s t r a t e d rather than f u l f i l l e d . The a r t s can (33) Student conference with Miss Jean Maxwell, Second .Annual North-west Settlements and Neighbourhood Centers Conference, Seattle, Washington, March 4 , 1951. be stimulated, encouraged, fostered, assisted, and they may have new horizons opened to them, with nothing but advantage. But i f t h e i r natural development i s i n t e r f e r e d with, no matter what the immediate r e s u l t may be, the f i n a l consequences w i l l be destructive both to the arts and to the power that has undertaken to d i c t a t e to them. For t h i s reason i n f l e x i b l e moulds, ce n t r a l i z e d a uthority and \" j u r i s d i c t i o n .from above\" are a l l things'to be avoided.\" This serves to point out the necessity f o r the democratic approach to the a r t s on the n a t i o n a l , community, and group work agency l e v e l . Only when the a r t i s t understands the basic concepts of s o c i a l group work i s he able to help the members of the a r t groups derive the benefits.which c u l t u r a l arts a f f o r d . Such an approach does not imply coddling the a r t a c t i v i t y or i t s creator. When obstacles are removed, the impetus of using one's creative a b i l i t y i s s t i f l e d - the challenge i s removed and hence the i n t e r e s t dwindles. Rich experiences can be gained from the lessons which a r t can teach. C u l t u r a l a r t s are stimulating! Each i n d i v i d u a l i s given an opportunity through c u l t u r a l a r t s to express h i s i n n e r - s e l f - confusion and vagueness w i l l a l i g n themselves with balance as beauty unfolds. Unrealized emotions afe given an opportunity f o r expression, with the r e s u l t that people understand themselves and others more adequately. They face everyday l i v i n g with renewed enthusiasm. Culture has two aspects - \"the acquiring of s k i l l s with which to create and the developing of taste with, which to descriminate\". 3^5) This i s the development of a r t on the immediate l e v e l . But i f t h i s concept i s c a r r i e d f u r t h e r , i t i s evident that: \" . . . a r t i s the manifestation of a l l that great part of our nature that i s , or can be c r e a t i v e and expansive and expressive; and that can regard, judge and d e l i g h t i n things i n themselves; and that i s not preoccupied with the demands of p r a c t i c a l expediency. And c u l t u r a l development, then, consists, f i r s t , i n r e l e a s i n g t h i s great, but often pent-up and ignored, part of our natures so that we are aware of i t and so that i t can become i n f l u e n t i a l and operative i n our l i v e s ; and, second, i n malting i t operative by using i t as a kind of solvent i n which the p r a c t i c a l considerations of p o l i t i c s , economics, (34-) Federation of Canadian A r t i s t s . To: Royal Commission on National Development , i n the A r t s , L e t t e r s and Sciences, Ottawa, J u l y 1949, p 7-8. (35) Leiber, Edna M., Questionnaire'from Community Music School, St. Louis, Missouri, February 1951. - 75 -science and so on, without being l o s t , are presented i n t h e i r true l i g h t and perspective, as things which e x i s t not as separate e n t i t i e s but as parts whose natures are determined by t h e i r r e l a t i o n s h i p s to one another and to the all-important whole.* 3^6) C u l t u r a l a r t s have an invaluable contribution to make to l i f e . ' Group work agencies must be more aware of the values of such a r t a c t i v i t i e s to the members i n the agency, i n t h e i r homes, i n the community and i n the world.' A greater emphasis on c u l t u r a l a r t s programmes i n group work agencies i s imperative! . -(36) Federation of Canadian A r t i s t s To; The Royal Commission on National Development i n the Arts, L e t t e r s and Sciences, Ottawa, J u l y 1949, P 34. Sample, of the L e t t e r . Vancouver, B. C. Dear S i r : I am making a study of the s p e c i a l r o l e s of f i n e a r t s and c u l t u r a l programmes i n community centres and settlement houses f o r my Master's degree i n S o c i a l Work at the School of S o c i a l Work, University of B r i t i s h Columbia. The s p e c i a l purpose of t h i s i n v e s t i g a t i o n i s to t r y to determine more .exactly the value of f i n e arts- i n . community centre programmes and also to get information on the pros and cons of organizing such a programme. In order to obtain a comprehensive picture of c u l t u r a l programmes i n community centres, I have given f i n e a r t s , i n t h i s instance, a broad i n t e r p r e t a t i o n \u00E2\u0080\u0094 those a r t s i n which the mind and imagination are c h i e f l y concerned, I am hopeful that t h i s study may be of some benefit to agencies planning to estab-l i s h or improve f i n e arts programmes, and i t i s c e r t a i n l y a n t i c i p a t e d that Vancouver agencies w i l l make use of the study. I am anxious to make t h i s study as.comprehensive as possible and therefore seek your co-operation i n answer-i n g the enclosed questions i n order to obtain an understand-i n g of the f i n e a r t s programme i n your agency. Thank you f o r helping me. Yours si n c e r e l y . (Miss) Beverley McCosham .APPENDIX B Sample of the, Questionnaire. FINE ARTS IN THE COMMUNITY CENTRE Name of Agency. \u00E2\u0080\u00A2 ..Total Agency Membership. A Administration of Fine Arts Programme: 1. 2. 3. U. In what year d i d a f i n e a r t s programme begin i n the agency? Who i n i t i a t e d the f i n e arts' program^? In d i v i d u a l Agency community service club u n i v e r s i t y . . . . .fine a r t s organization govern-ment other (please give d e t a i l s ) How i s the member's i n t e r e s t i n the f i n e a r t s programme determined? r e g i s t r a t i o n i n -formation requests by i n d i v i d u a l s requests from outside the agency (other agencies, service clubs) Others \u00E2\u0080\u00A2. Who finances the f i n e a r t s programme? i n d i v i d u a l p a r t i c i p a n t s agency..... service club community extension programme of a u n i v e r s i t y f i n e arts organiza-t i o n government project others B Content of Fine Arts Programme: Check programmes given i n the l a s t three years. I f the programme has been discontinued, please c i r c l e the check and give reasons on back. MUSIC,: lessons. .. . i n d i v i d u a l p r a c t i c i n g . . ... .ensemble. . . .orchestra... .bands concerts by membership.... concerts by visi t o r s . . . . m u s i c appreciation. others number of leaders per group age range of p a r t i c i p a n t s to, average group attendance M F., i d e a l group membership 2. DANCING: b a l l e t . . . . i n t e r p r e t a t i v e . . ,acrobatic.... square.... f o l k . tap. n a t i o n a l other s. number of leaders per group... age range of p a r t i c i p a n t s to. average group attendance. .. ,M F. i d e a l group membership 3. PAINTING: o i l s water colours. f i n g e r painting art e x h i b i t s . . others number of leaders per group...; age range*, of p a r t i c i p a n t s to, average group attendance M F. . i d e a l group membership ...... 7# DRAMA AND THEATRE: a c t i n g play-w r i t i n g . ....play reading d i r e c t i n g or producing l i g h t i n g scenery.. costume and makeup others 5. DRAWING AND DESIGN: (d e s c r i p t i o n of ac-t i v i t i e s ) number of leaders per group age range of p a r t i c i p a n t s to. average group attendance M. F. i d e a l group membership number of leaders per group age range of p a r t i c i p a n t s -.to, average group attendance M F. . i d e a l group membership number of leaders per group age range of pa r t i c i p a n t s to, average group attendance M. ......F. . i d e a l group membership number of leaders per group... age range of p a r t i c i p a n t s . . . . . . . t o . average group attendance M F.. i d e a l group membership # .Please enter separately other f i n e o pi-o^ammes that apply to your agency, I.e. engraving, avob.itecfcuvt?, se>v\"l.p'fcnving and modelling, decoration and ornament. 1' -2~ C P a r t i c i p a t i o n i n Fine Arts Programmes: 1 How frequently should a fin e arts group meet? What i s the most desirable length f o r a session? 2. What f a c i l i t i e s (Room, Equipment, Supplies) does your agency provide f o r p a r t i c i p a n t s of a f i n e arts programme? . .... 3. What t r a i n i n g has the leader of the f i n e a r t s programme? .\u00E2\u0080\u00A2\u00E2\u0080\u00A2\u00E2\u0080\u00A2\u00E2\u0080\u00A2 4. What t r a i n i n g i s necessary for a leader of a f i n e arts programme i n order to produce a good exposure or appreciation programme? In order to r a i s e the standard of perfor-mance or shorten the p a r t i c i p a n t ' s c r i t i c a l a p p r a i s a l ? . . . . . . . . . . . .\" 5. What q u a l i f i c a t i o n s other than t r a i n i n g are d e s i r a b l e f o r a f i n e a r t s leader?.....'... 6. How much emphasis i s on developing s k i l l and how much emphasis i s on developing the personality of the p a r t i c i p a n t ? To what extent are these two aims compatible? 7. What kind of people come to the f i n e a r t s programme? ( i . e . , are they d i f f e r e n t from those who come to other programmes?) 8. For what reasons do people come to the f i n e a r t s programme 9. Did i n t e r e s t i n a f i n e a r t s programme change during the year? During the l a s t 10 years? I f so, i n which programmes and i n what way?.... 10. What do you consider as the aims of a f i n e arts programme i n a community centre -(neighbourhood house, settlement house)?.....,.... \u00E2\u0080\u00A2 -REMARKS: (please continue on back of page i f necessary.) Answered by: s p e c i a l i s t .... Executive d i r e c t o r volunteer s p e c i a l i s t fine arts APPENDIX C Organizations represented i n r e p l i e s to questionnaires. Canada. Young Men's C h r i s t i a n Association, Edmonton, Alberta. Central Young Men's C h r i s t i a n Association, Toronto, Ontario. Young Women's C h r i s t i a n Association, Winnipeg, Manitoba. Young Women's C h r i s t i a n Association, Kitchener, Ontario. Recreation Commission, Edmonton, Alberta. Vancouver Art School, Vancouver, B r i t i s h Columbia. Di r e c t o r of Recreation, Brantford, Ontario. U n i v e r s i t y Settlement, Toronto, Ontario. Woodgreen Community Centre, Toronto, Ontario. Recreation Director, Aluminum Company of Canada, Arvida, Quebec. Recreation Director, Regina, Saskatchewan. The United States. Young Women's C h r i s t i a n Association, San Francisco, C a l i f o r n i a . Young Women's C h r i s t i a n Association, Atlanta, Georgia. Young Women's C h r i s t i a n Association, Rochester, New York. Young'Women's C h r i s t i a n Association, Syracuse, New York. \u00E2\u0080\u00A2 Young Women's C h r i s t i a n Association, Houston, Texas. Community Music School, San Francisco, C a l i f o r n i a . Abraham L i n c o l n Center, Chicago, I l l i n o i s . H u l l House, Chicago, I l l i n o i s . Community Music School, St. Louis, Missouri. Educational A l l i a n c e , New York, New York. Henry Street Settlement, New York 2 , New York. Hudson Guild Neighborhood House, New York, New York. Cleveland Music School Settlement -, Cleveland 6 , Ohio. Karamu House, Cleveland 6 , Ohio. Friends Neighborhood- Guild, Philadephia 2 3 , Pennsylvania. $0 APPENDIX D. Bibliography. General References; Clark, M.L., and T e a l l , B., The Executive Director on the Job i n a Membership Organization - the Y.W.C.A., New York, The Woman's Press, 194-7. Jacks, L.P., Education Through Recreation, London, University of London Press, Limited, 1935. Williamson, Margaretta, The S o c i a l Worker i n Group Work, New York, Harper and Brothers, 1929. Wilson, G., and Ryland, G., So c i a l Group Work P r a c t i c e , Cambridge, Houghton M i f f l i n Company, 1949. S p e c i f i c References: Canada, Parliament House of Commons, Special Committee on Reconstruction and Re-establlshment, Minutes of Proceedings and Evidence No.- 10, 1944-Federation of Canadian A r t i s t s To: The Royal Commission National Development'in the Arts, L e t t e r s and Sciences, Ottawa, Laurentian Building, 1949. National Federation of Settlements, Incorporated, Settlements 60th Anniversary,' New York, 194\u00C2\u00B0. National Jewish Welfare Board, Jewish Center Program Aids \"The Dance - Creative and Recreative\", New York 1949. \"Feature the A r t i s t \" , New York, 1947. Other information was received from correspondence. "@en . "Thesis/Dissertation"@en . "10.14288/1.0107002"@en . "eng"@en . "Social Work"@en . "Vancouver : University of British Columbia Library"@en . "University of British Columbia"@en . "For non-commercial purposes only, such as research, private study and education. Additional conditions apply, see Terms of Use https://open.library.ubc.ca/terms_of_use."@en . "Graduate"@en . "Cultural arts in group work agencies"@en . "Text"@en . "http://hdl.handle.net/2429/41767"@en .