Performing arts as a non-pharmacological intervention for people with dementia and care-partners: a community case study

Participation in psychosocial enrichment activities, such as music and arts programming, have shown potential to delay or reduce functional decline - without adverse effects that can be associated with pharmaceuticals. The performing-arts programming described in this community case study was inspired by a community music program called B-Sharp Music Wellness, located in Phoenix, Arizona, which involved small groups of musicians who provided symphony performances for people with dementia. Our community programming sought to engage people with dementia and their informal care partner (typically a spouse) in existing performing-arts programs in their local community, providing social hours and season tickets for either symphony, dance (ballet), or non-musical theater performances. This case study describes the program history and design, including outcomes and lessons learned from the program evaluation of the last full season (2018-19) and partial season (2019-20), when the program was halted due to the COVID-19 pandemic. Program outcomes suggest strategies for, and benefits of, design for performing-arts programs as psychosocial interventions in other communities.

Performing Arts in Suicide Prevention Strategies: A Scoping Review

Suicide is a leading cause of death all over the world. Suicide prevention is possible and should be pursued through a variety of strategies. The importance of the arts for positive health outcomes has been increasingly evidenced. This scoping review aimed to identify the possible role of the performing arts-defined as a type of art performed through actions such as music, dance, or drama executed alive by an artist or other participant in the presence of an audience,-in suicide prevention programs. PubMed, Embase, PsycINFO, CINAHL, ProQuest Psychology Database, Scopus, and Web of Science were searched using terms in English for publications of original studies that included performing arts in suicide prevention programs. Thirty-five studies conducted between 1981 and 2021 were identified, of which only five were randomized clinical trials and four quasi-randomized studies. Interventions used different performing arts to improve awareness, self-efficacy, and soft skills relevant to suicide prevention. Studies were addressed mainly to gatekeepers but also directly to at-risk populations. While the study designs do not allow inferences to be drawn about the effectiveness of performing arts in preventing suicide, the review found that performing arts have been successfully implemented in suicide prevention programs. Research to evaluate the possible therapeutic benefit is warranted.

Intergenerational Theater Workshops as Unique Recreational Activities among Older Adults in Japanese Care Facilities: A Qualitatively Driven Mixed-Methods Multiple-Case Study Design

Intergenerational theater activities have been recently employed in recreation for older adults. We held a series of four intergenerational theater workshops in two older adults' care facilities in Japan and sought the experiences of older participants, younger participants, and the facility managers. With a qualitatively driven mixed-methods multiple-case study design, we obtained data from field observation, interviews with participants, and preworkshop and postworkshop changes on a well-being scale (Ikigai-9) among older participants, and the results of the two sites were compared. "Immediate effects" were seen in older adults because they responded actively and demonstrated surprising faculties during the workshop. Facility staff members and younger participants received "extended effects" because they gained new ideas regarding the remaining skills of older participants and a sense of reuniting with old neighbors through the exercise. In the Ikigai-9 scale, the items measuring "present happiness" significantly improved at Site 1 but not at Site 2. Better results at Site 1 might have been caused by the lower care needs of participants and the inclusion of children. Less support from facility staff members during the activities also might have promoted the voluntary participation of older adults. Involving children and engaging the facility staff in preparation could enhance the quality of activities.

Effects of Creative Movement Therapies on Social Communication, Behavioral-Affective, Sensorimotor, Cognitive, and Functional Participation Skills of Individuals With Autism Spectrum Disorder: A Systematic Review

Autism Spectrum Disorder (ASD) is a neurodevelopmental disorder affecting multiple developmental domains including social communication, behavioral-affective, sensorimotor, and cognitive systems. There is growing evidence for the use of holistic, whole-body, Creative Movement Therapies (CMT) such as music, dance, yoga, theater, and martial arts in addressing the multisystem impairments in ASD. We conducted a comprehensive quantitative and qualitative review of the evidence to date on the effects of CMT on multiple systems in individuals with ASD. The strongest evidence, both in terms of quantity and quality, exists for music and martial arts-based interventions followed by yoga and theater, with very limited research on dance-based approaches. Our review of 72 studies (N = 1,939 participants) across participants with ASD ranging from 3 to 65 years of age suggests that at present there is consistent evidence from high quality studies for small-to-large sized improvements in social communication skills following music and martial arts therapies and medium-to-large improvements in motor and cognitive skills following yoga and martial arts training, with insufficient evidence to date for gains in affective, sensory, and functional participation domains following CMT. Although promising, our review serves as a call for more rigorous high-quality research to assess the multisystem effects of CMT in ASD. Based on the existing literature, we discuss implications of our findings for autism researchers and also provide evidence-based guidelines for clinicians to incorporate CMT approaches in their plan of care for individuals with ASD.

Farm Dinner Theater: Testing an innovative health and safety intervention among older farmers and their families

PURPOSE

The effectiveness of a novel intervention for increasing health and safety behaviors of older farmers was tested. Blending didactic and readers' theater techniques, Farm Dinner Theater (FDT) engages farmers in discussions of health and safety in a nonthreatening social atmosphere supportive of potential changes.

METHODS

Through community collaborations, farmers 45 years and older were recruited in 8 communities for the FDT. For each site, 3 scripts were prepared highlighting health and safety issues especially relevant for older farmers. The brief plays were performed in a dinner theater format, with group discussion following each play. Printed educational packets (EPs) addressing the same topics were mailed to comparison groups of participants in 9 communities. In telephone interviews conducted 2 weeks and 2 months later, 870 participants (553 FDT and 317 EP) reported health and safety-related changes they had made in their farm operations.

FINDINGS

FDT participants were more likely than EP participants to report having made any changes and reported making more changes on both the 2-week and 2-month follow-up assessments. This outcome occurred when analyzing all farms and when considering only farms with at least 1 participant who spent 10 or more hours per week farming.

CONCLUSIONS

FDT is a fun, relaxing intervention; it is acceptable to farming communities; and it is more effective in producing health and safety-related changes than the common approach of providing printed materials. FDT not only had a greater impact than EP, but it has the potential to reach larger audiences due to its greater appeal.

Changing Health Practices Through Research to Practice Collaboration: The Farm Dinner Theater Experience

Production agriculture ranks as one of the most hazardous occupations in the United States, with older producers suffering 3.5 times the fatalities compared with their younger counterparts. Previous interventions have not significantly improved the health or work behaviors of farmers. Through careful collaboration among academics and Cooperative Extension agents, we developed, tested, and expanded a unique educational experience, Farm Dinner Theater (FDT), for farmers aged 45 years and more and their families across three states (n = 8 communities, 573 participants). More than 50% of the participants made health or safety changes following the theater. Communities requested more theater events, noting the realism and applicability of the content and the engaging atmosphere for discussion. Participants remarked that the theater should be used across all age-groups. The FDT project created a community of "champions" that synergized the initial research project and fostered expansion and sustainability of the intervention. Process evaluation guided refinement of the theater intervention and built trust, respect, and further cooperative work among all collaborators. Members of the FDT partnership have received national recognition and funding to upscale the concept. The number of FDTs has expanded under local leadership. A toolkit that resulted from the project is available to the public and is constantly updated as more adopters contribute insight and scripts. This article describes the collaborative theater concept and demonstrates how sustained translation from research to practice can be accomplished through continued community engagement, collaboration, and outreach.

Digital Fabrication and Theater: Developing Social Skills in Young Adults With Autism Spectrum Disorder

An action research project was carried out, using theater workshops and basic digital fabrication technology workshops to improve social skills-such as the expression of emotions, communication, self-control, and teamwork-in a group of 10 young individuals with autism spectrum disorder (ASD). This article focuses on the digital fabrication workshops, where participants worked on the fundamentals of electronics and programming, as well as 3D design and printing, to make props that were later used on stage in the theatrical performances in which they participated. These workshops were systematized through observation guides. According to the results, it was evident that the participants not only enjoyed and gained technological knowledge, but that their social skill development needs were addressed. Professionals from the Special Education Faculty and the Fab Lab Kä Träre, both from Universidad Estatal a Distancia in Costa Rica, were in charge of the study during its first phase, executed in 2016 and 2017.

Rating the Acting Moment: Exploring Characteristics for Realistic Portrayals of Characters

Good actors appear to become their characters, making them come alive, as if they were real. Is this because they have succeeded in merging themselves with their character? Are there any positive or negative psychological effects of this experience? We examined the role of three characteristics that may make this kind of merging possible: dissociation, flow, and empathy. We also examined the relation of these characteristics to acting quality. Acting students (n = 44) and non-acting students (n = 43) completed a dissociation measure, and then performed a monologue that was recorded and rated on the dimensions of acting. Participants were then reassessed on dissociation to determine whether it increased as a function of performance. They were also then assessed on flow and empathy. Actors did not differ from non-actors on dissociation, but did score significantly higher than non-actors on some flow and empathy subscales, indicating a positive psychological experience and outcome. While non-actors’ dissociation marginally increased post-performance, actors’ dissociation rose significantly, which could indicate a negative psychological experience. Surprisingly, acting ratings were unrelated to the levels of dissociation, flow, or empathy. We concluded that, while these are tools used by actors to immerse themselves fully in their characters, they may not be necessary to create the illusion of an imaginary character come to life on stage.

Do Musicians Have Better Mnemonic and Executive Performance Than Actors? Influence of Regular Musical or Theater Practice in Adults and in the Elderly

The effects of musical practice on cognition are well established yet rarely compared with other kinds of artistic training or expertise. This study aims to compare the possible effect of musical and theater regular practice on cognition across the lifespan. Both of these artistic activities require many hours of individual or collective training in order to reach an advanced level. This process requires the interaction between higher-order cognitive functions and several sensory modalities (auditory, verbal, visual and motor), as well as regular learning of new pieces. This study included participants with musical or theater practice, and healthy controls matched for age (18–84 years old) and education. The objective was to determine whether specific practice in these activities had an effect on cognition across the lifespan, and a protective influence against undesirable cognitive outcomes associated with aging. All participants underwent a battery of cognitive tasks that evaluated processing speed, executive function, fluency, working memory, verbal and visual long-term memories, and non-verbal reasoning abilities. Results showed that music and theater artistic practices were strongly associated with cognitive enhancements. Participants with musical practice were better in executive functioning, working memory and non-verbal reasoning, whereas participants with regular acting practice had better long-term verbal memory and fluency performance. Thus, taken together, results suggest a differential effect of these artistic practices on cognition across the lifespan. Advanced age did not seem to reduce the benefit, so future studies should focus on the hypothetical protective effects of artistic practice against cognitive decline.

Emotional and Cognitive Responses to Theatrical Representations of Aggressive Behavior

Representation of human conflict is central to theater performance. In our study, we have used self-reported measures of emotional experience and a word recall task, in order to assess the effects of theatrical representations of violence. Forty participants were randomly assigned to the role of performer or spectator, in either a realistic representation of a script or in a version that recollected the same actions of the script in a series of intertwined monologs. The script represented an aggressive interaction between two work colleagues. Our results show both statistically significant differences in the levels of depression and positive emotions reported after enacting the script, as well as differences in the performance on the word recall task containing aggressive related and non-related stimuli. The results point to stronger effects for performing theatrical representations of violent actions, as compared to recollecting or watching such actions. The fact that actors experienced higher positive emotions is in line with the two-pedal model of aggressive behavior. This model suggests that negative emotions toward aggressive behavior might change to positive emotions due to the repetition in performing violent behaviors, as a key for the transition from reactive aggression to appetitive aggression. Other implications for the study of aggression in theatrical representations are discussed.

Research-Based Theater and "Stigmatized Trauma": The Case of Suicide Bereavement

Background

Existing research shows that family members who suffer the loss of a loved one through suicide often experience self-blame and shame, and that this limits their grieving process. It can also lock them into stigmatized positions and the notion that either somebody or a dysfunctional family is to blame for the suicide.

Aim

This article investigates from a narrative perspective how a theater play might counteract the stigma that surrounds suicide bereavement by contributing destigmatizing understandings of suicide.

Methods

A theater play was performed in a churchyard theater in Stockholm, Sweden, in 2019. Audience members were asked to write down their free reflections on a form distributed at the theater. In particular, they were asked to assess whether they found the play related to their own lives and, if so, how; and to describe what they had learned. Their written reflections [N = 41] were analyzed from a narrative methodological perspective to investigate their responses to the play. Three categories of audience member were identified from their responses: people with their own suicide bereavement experiences; people with similar but different experiences of stigmatized trauma; and people who did not report any experiences of suicide or stigmatized trauma.

Results

The suicide-bereaved generally reported familiarity with the thematic performed, in particular the "why question," the blame and shame responses and the silenced family communication. Most of these aspects were also shared by those affected by other types of stigmatized trauma. Respondents from all categories emphasized how they had learned that suicide is a desperate rather than a deliberated act, caused by overwhelming emotional pain or depression. Ultimately, suicide was perceived as an involuntary death caused by complex interacting factors linked to both inner vulnerabilities and stressful life events, for which no one was to blame.

Conclusion

The results show that research-based theater isa time-limited and cost-effective method of introducing alternative meanings and identities to both individual mourners and the broader cultural context from which stigma originates, and how it can have destigmatizing effects on a stigmatized trauma such as suicide bereavement.

Theatrical Performance as Leisure Experience: Its Role in the Development of the Self

Theater has been used in psychological intervention and as a metaphor for social life, tendencies that affect the self, highlighting how influential theatrical performance can be for individuals. Their limitations - in terms of the empowerment of the self and its authenticity, respectively - can be overcome by treating theatrical performance as a leisure experience, which considers that freedom and satisfaction play a central role in a more comprehensive understanding and development of the self. With this in mind, we present the conceptual and empirical bases of the leisure experience as an alternative conception of theatrical performance. To do so, we organized a 20 h theater exercise workshop with 16 university students (15 women, one man), aged between 18 and 21 years old (M = 19.06 years; SD = 1.06). The instruments used were: the Time Budget Technique (questionnaire about the activities carried out in the workshop, valued in relation to two items: perceptions of freedom and satisfaction); the Twenty-Statement Test (where people list characteristics of themselves - self-descriptions - related in this case to the theatrical exercises); and, as a third instrument, a combination of the other two - specifying which exercises were more closely related to the self-descriptions. The results showed that group discussion was the activity with the highest perception of freedom, followed by obstacle exercises; as regards the perception of satisfaction, the highest value was observed in the relaxations. In the case of the self-descriptions, the acquisition of practical and intellectual skills was significant, as well as emotional outlook and the expression of self-esteem. In sum, this empirical support - using instruments that invite an exploration of the self - revealed, on the one hand, which specific characteristics of the self are manifested by doing theatrical exercises and, on the other hand, which exercises - when experienced as leisure - have a more decisive impact on the self. Thus, this paper shows what aspects must be taken into account when deciding which activities to include in a psychosocial intervention addressed to the development of the self from the standpoint of theatrical performance as a leisure activity.

Health Communication and the Arts in the United States: A Scoping Review

OBJECTIVES

Guided by the hypothesis that the arts can play a role in changing attitudes, beliefs, and health behaviors, the objectives of the study were to (1) overview artistic practices, interventions, and research being conducted at the intersection of the arts and health communication and (2) identify desired and observed outcomes and variables measured in these studies.

DATA SOURCE

The search strategy was developed iteratively with 2 health science librarians and conducted using 8 databases (Applied Social Sciences Index and Abstracts, Art and Architecture Source, CINAHL, Communication and Mass Media Complete, ERIC, PsycINFO, PubMed, and Web of Science) and hand searching. Articles included were published between 2014 and 2018.

STUDY INCLUSION AND EXCLUSION CRITERIA

Inclusion criteria include US nonclinical setting and use of the arts (broadly defined) to change health knowledge, beliefs, behaviors, or awareness. Any articles not meeting inclusion criteria were excluded.

DATA EXTRACTION

Covidence's data extraction tool exported to MS Excel.

DATA SYNTHESIS

This final set of results was analyzed and synthesized by research design, population, sample size, health issue, purpose, variables measured, and findings.

RESULTS

In all, 78 articles met inclusion criteria. Number of participants ranged from 4 to 2140 (mean = 179); 61 (78.2%) outcome studies, including 8 experimental studies; 17 (21.79%) formative research or reports. Many different health topics were addressed and different art forms used.

CONCLUSION

The arts can help build knowledge and awareness of health issues. The authors highlight the need to build an evidence base for arts and public health.

Peer Actors and Theater Techniques Play Pivotal Roles in Improving Social Play and Anxiety for Children With Autism

Children with autism spectrum disorder (ASD) have significant difficulty in social functioning to include engaging in natural play with peers. Many children with ASD exhibit significantly less interactive play and more physiological stress during benign social encounters with same-age peers on a playground. Theatrical role-playing and performance with expert role models may provide a unique opportunity for children with ASD to learn to engage with other children in a safe, supportive environment. SENSE Theatre® is a peer-mediated, theater-based program aimed at improving social competence in youth with ASD. Previous studies have shown significant improvements in social and communication skills following SENSE Theatre® intervention. The current project examined play with novel peers and self-reported anxiety before and after participation in SENSE Theatre®. Participants included 77 children between 8 and 16 years with high-functioning (IQ ≥ 70) ASD. The combined sample of three cohorts was randomized to the experimental (EXP, N = 44) or waitlist control (WLC, N = 33) group. Participants in the EXP group received 40 h (10, 4-h sessions) of SENSE Theatre®. The Peer Interaction Paradigm (PIP), an ecologically valid measure of natural play, was administered before and after the intervention. Group Play and Self Play on the playground equipment during solicited (T4) and unsolicited (T1) play were used in the current study. The State Trait Anxiety Scale for Children (STAIC; Spielberger et al., 1983) was used to measure self-reported current and persistent anxiety, respectively. Following treatment, children in the EXP group engaged in significantly more Group Play with novel peers [F(2,73) = 7.78, p = 0.007] and much less Self Play [F(2,73) = 6.70, p = 0.01] during solicited play compared to the WLC group. Regression analysis revealed that pretreatment play and group status were significant predictors of solicited Group Play. Children in the EXP group reported significantly less Trait anxiety following intervention [F(2,71) = 6.87, p = 0.01]; however, State anxiety was comparable. Results corroborate previous findings of significant changes in social and play behavior in children with ASD following the peer-mediated, theater-based intervention. Acting and theatrical performance with supportive role models facilitates social engagement in everyday settings with novel peers and reductions in self-reported anxiety.

Using Theater as an Educational Tool for Understanding Medication Experiences from the Patient Perspective

Objective. To develop a play depicting patients' medication experiences and evaluate its usefulness as an educational tool for improving health care professionals' understanding of medication experiences from the patient perspective. Methods. An award-winning playwright was recruited to write the script, which was based on 2,178 written comments submitted by respondents to a national consumer survey on patients' medication experience and pharmacist roles. The resulting play, Go Ask Alice, was presented during November 2016 in two Minnesota cities. Attendees were asked to complete a survey before and after the performance and to provide their email address if interested in completing a three-month follow-up survey. The research team conducted descriptive and inductive thematic analyses on the quantitative and qualitative data, respectively. Results. A total of 225 people viewed the performances, with 161 completing both the pre- and post-intervention surveys and 58 providing feedback three months later. Two themes emerged in the follow-up survey: the play illuminated barriers that patients face when seeking health care services, as well as the major hindrances and other contributors to patients' medication experiences. Conclusion. Theatrical performance can be an effective educational tool for understanding medication experiences from the patient perspective.

Prevention of Chlamydia Infections With Theater in School Sex Education

The aim of the study was to evaluate if an intervention including theater in school sex education affects students' knowledge, attitudes, and behavior regarding condom use in Sweden. The study was a cluster randomized controlled trial. The intervention group got a play, value exercises, chlamydia games, condom school, and interactive replay with professional actors and staff from a youth guidance center. The control group got standard sex education from school staff. Students in both groups answered web surveys on knowledge, attitudes, and behavior regarding condom use. Posteducation, knowledge on condom use, chlamydia, and protection had increased in both groups. However, students in the intervention group showed higher levels of knowledge, improved attitudes, and less risky behavior in regard to condom use compared to the control group. The intervention titled SAFETY seemed to be a beneficial supplement to standard sex education and more effective with regard to knowledge of condom use.

Unravelling Motor Learning Processes in Theater Performers

Theater performers, more than common actors, experience high physical loadings. This study aimed at analyzing the motor behavior of novice performers (dancers/actors who were introduced to the acting method of Jan Fabre) by investigating the kinematics of a physical acting exercise in a prospective study. Two measurement sessions were organized: before and after the novice performers (N = 13) took part in seven workshops. Total body kinematics were registered using a three-dimensional motion capture system. Using a principal component analysis, six factors were disseminated out of 30 kinematic parameters: Pelvic Motion, Speed of Progression, Lower Limb Position, Foot Motion, Lower Limb Motion, and Trunk Posture. Although no main effect of training was found for any of the factors (.429 < p < .964), Trunk Posture showed a higher consistency after the workshops. This study succeeded in providing insights in the motor behavior of theater performers and revealed recognizable features of motor learning.

An empirical assessment of the short-term impacts of a reading of Deborah Zoe Laufer's drama Informed Consent on attitudes and intentions to participate in genetic research

OBJECTIVE

This study assessed the short-term impact of the play "Informed Consent" by Deborah Zoe Laufer (a fictionalized look at the controversy over specimens collected from the Havasupai Tribe for diabetes research in 1989) on perceptions of trust, willingness to donate biospecimens, and attitudes toward harm and privacy among the medical and undergraduate students, faculty, and the public in the Intermountain West.

METHODS

Surveys were administered before and after a staged reading of the play by professional actors. Survey items included the short form Trust in Medical Researchers, and single-item questions about group identity, ethics of genetic testing in children, and willingness to donate biospecimens. In addition, respondents were given the option to answer open-ended questions through e-mail.

RESULTS

Out of the 481 who attended the play, 421 completed both the pre and post surveys, and 166 participants completed open-ended questions online approximately 1 week after the play. Across all participants, there were significant declines for trust in medical researchers and for the survey item "is it ethical for investigators to test children for adult onset diseases" (p < .001 for both) following the play. There was a significant increase in agreement to improve group identity protections (p < .001) and there were no differences on willingness to donate biospecimens to research (p = .777). Qualitative data provided extensive contextual data supporting these perspectives.

DISCUSSION

This is one of the first studies to document short-term impacts of a theatrical performance on both attitudes and behavioral intentions toward research ethics and clinical research participation. Future research should continue to explore the impact of theatrical performances among public and investigators on the ethical issues and complexities in clinical research.

Affect and the "Really Real": The Politics of HIV/AIDS Framing in South African Theater

Funding in South Africa privileges HIV prevention campaigns underpinned by individual behavior change goals, despite over two decades of intervention but little reduction in national HIV prevalence. In response, civil society has begun calling for innovative interventions and ways of speaking about the epidemic. Employing framing theory, I analyze differences in how HIV/AIDS is characterized in public media and interrogate the knowledge politics underpinning a group of artists' emerging attention to the nexus of affect, intersubjectivity, and epidemics within performance. I suggest this focus challenges but also complements dominant HIV intervention models by destabilizing common content, relations of power, and hierarchies of knowledge that shape normative health discourse and practice. Simultaneously, such performances reveal deep disparities between the neoliberal principles undergirding most global public health ideology, South Africa's current political economy of HIV intervention, and the dynamic concerns of its HIV-affected constituents.

Edutainment as a Strategy for Parental Discussion With Israeli Children: The Potential of a Children's Play in Preventing Sexual Abuse

Edutainment is a communication strategy to influence attitudes and behaviors through the use of the media. Through the children's play "Yael Learns to Take Care of Her Body," designed for joint viewing by children aged 5-8 and their parents, sexual abuse is raised. This qualitative study findings indicate that parents from low socioeconomic subgroups from the secular sector reported that their awareness had been raised by viewing the play and that they received tools for holding a conversation. Conversely, parents from high socioeconomic subgroups in the secular sector and parents from the national-religious sector were more ambivalent regarding the play's effectiveness. In order to make the conversation meaningful, the play has to tailor different messages to different audiences. A single program is not enough but should be part of a series of customized intervention programs for different subpopulations and separate programs for parents and children accompanied by professionals.

Aging Audiences: Association of Live Performance Attendance and Cognitive Decline in a Biracial Sample

OBJECTIVES

To examine if attendance in live performances was associated with change in cognition among African Americans (AAs) and European Americans (EAs).

METHOD

The study consisted of 5,567 older adults with at least follow-up interview and analyzed using a linear mixed effects regression model adjusting for demographic and health variables.

RESULTS

We found that frequent performance attendance was associated with slower decline in composite cognitive function among older AAs and EAs. Attending 10 or more performances per year was associated with 23% slower cognitive decline among AAs and 31% slower cognitive decline among EAs compared with those who never attend any performance. However, this difference was not significant ( p = .56). Attending live performances was also associated with slower decline in individual tests of perceptual speed, episodic memory, and mini-mental state exam (MMSE).

DISCUSSION

Our findings suggest that live performances form a valuable component of arts engagement and should be encouraged for potential cognitive benefits.

Active Experiencing Training Improves Episodic Memory Recall in Older Adults

Active experiencing (AE) is an intervention aimed at attenuating cognitive declines with mindfulness training via an immersive acting program, and has produced promising results in older adults with limited formal education. Yet, the cognitive mechanism(s) of intervention benefits and generalizability of gains across cognitive domains in the course of healthy aging is unclear. We addressed these issues in an intervention trial of older adults (N = 179; mean age = 69.46 years at enrollment; mean education = 16.80 years) assigned to an AE condition (n = 86) or an active control group (i.e., theatre history; n = 93) for 4 weeks. A cognitive battery was administered before and after intervention, and again at a 4-month follow-up. Group differences in change in cognition were tested in latent change score models (LCSM). In the total sample, several cognitive abilities demonstrated significant repeated-testing gains. AE produced greater gains relative to the active control only in episodic recall, with gains still evident up to 4 months after intervention. Intervention conditions were similar in the magnitude of gains in working memory, executive function and processing speed. Episodic memory is vulnerable to declines in aging and related neurodegenerative disease, and AE may be an alternative or supplement to traditional cognitive interventions with older adults.

Performing the Bakla in The Care Divas: Crossdressing, Affective Labor, and the Glimpse of the Cosmopolitan

This essay is a close reading of The Care Divas, a Filipino musical revolving around the struggle of five Filipino caregivers in Israel who also struggle with their sexual identities as bakla (Filipino homosexual). The analysis is both an affirmation and a critique of the performance. In the affirmation, the musical is argued to present a social reality that is intended for and in need of interrogation: the Filipino bakla. The musical implicitly features the bakla as a cosmopolitan. At the outset, this cosmopolitan disposition comes from the fact that the characters are migrant workers (caregivers). But more importantly, the cosmopolitan character is from a responsibility toward the other anchored within a genuine caring as implicated in the affective labor of these caregiver characters. In the critique, the essay marks some problematic limitations in the treatment of the bakla. In doing so, the musical, despite its attempt to present a social reality, is a problem play, a social drama touching social issues--realistic in approach, but the representation seems like an editorial. In the final analysis, The Care Divas is argued to seemingly fail because artists are not able to see the complexity of their chosen subject in a bigger picture.

Workplace rights: a popular theater performance

Theater acting can help build the social skills needed for effective communication at work and in the wider community. The following short play is about workers fighting for their rights at a textile factory in the early 20th century. It was written by an adult education teacher, performed by her students and attended by the school's students and teachers.

What Physiological Changes and Cerebral Traces Tell Us about Adhesion to Fiction During Theater-Watching?

Live theater is typically designed to alter the state of mind of the audience. Indeed, the perceptual inputs issuing from a live theatrical performance are intended to represent something else, and the actions, emphasized by the writing and staging, are the key prompting the adhesion of viewers to fiction, i.e., their belief that it is real. This phenomenon raises the issue of the cognitive processes governing access to a fictional reality during live theater and of their cerebral underpinnings. To get insight into the physiological substrates of adhesion we recreated the peculiar context of watching live drama in a functional magnetic resonance imaging (fMRI) experiment, with simultaneous recording of heart activity. The instants of adhesion were defined as the co-occurrence of theatrical events determined a priori by the stage director and the spectators’ offline reports of moments when fiction acted as reality. These data served to specify, for each spectator, individual fMRI time-series, used in a random-effect group analysis to define the pattern of brain response to theatrical events. The changes in this pattern related to subjects’ adhesion to fiction, were investigated using a region of interest analysis. The results showed that adhesion to theatrical events correlated with increased activity in the left BA47 and posterior superior temporal sulcus, together with a decrease in dynamic heart rate variability, leading us to discuss the hypothesis of subtle changes in the subjects’ state of awareness, enabling them to mentally dissociate physical and mental (drama-viewing) experiences, to account for the phenomenon of adhesion to dramatic fiction.

Using Indigenous Australian drama to break cultural barriers in healthcare relationships

Since colonisation, the marginalisation of Indigenous Australians has adversely affected their language, culture and health. Mainstream society has failed to address social differences and establish culturally-appropriate health programmes for these groups. This paper extracts important humanistic themes within the context of health from four Indigenous Australian plays written during a period of social unrest in response to past oppression: (1) The dreamers, by Jack David; (2) Murras, by Eva Johnson; (3) Coordah, by Richard Walley; and (4) The keepers, by Bob Maza. These plays will be analysed to (a) illuminate human suffering from an indigenous perspective, based upon social and cultural planes of analysis; (b) understand the socio-cultural basis of poor health; and (c) instruct healthcare professionals that health is a social construct that can be interpreted as the product of select plays that are not solely based upon an illness narrative.