Arts in Health, also known as Arts for Health, is an umbrella term used to describe the domain of using the arts to enhance our (mental) health and well-being. It involves a heterogeneous range of professionals who use the arts in various ways, with different goals and outcomes. The practices of these professionals can be placed on a continuum based on the variety of goals and outcomes, ranging from promoting social connection or well-being to treating (mental) health conditions. Recent discussions in the Netherlands have raised questions about the position of creative arts therapists on this continuum. This opinion paper addresses this issue by providing a brief overview of the development of the profession of creative arts therapists, the working areas of creative arts therapists and the growing evidence base of creative arts therapeutic interventions. The practices of creative arts therapists are positioned on the continuum, where the emphasis on and accountability for the clients’ (mental) health increases and evidence-informed use of the arts within a more clearly delineated and legally safeguarded professional framework are present. Knowing where the practices of creative arts therapists are placed can assist in identifying when to choose creative arts therapists, other professionals combining arts and healthcare, or a combination of professionals.
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The road to science for the arts therapies requires research on the full breadths of the spectrum, from systematic case studies to RCTs. It is important that arts therapists and arts therapeutic researchers reflect on the typical characteristics of each research paradigm, research type and research method and select what is appropriate with regard to the particular research question. Questions rather differ. Finding out whether a certain intervention has a particular effect with a large group of clients differs from wanting to know which change occurs at which moment by which interventions in the treatment of an individual client. Research in practice remains close to questions encountered by arts therapists in their daily practice. It concerns questions arts therapists have about their lived experience of acting due to the complexity and variability of practice. By carrying out research in practice that links up with those questions, evidence evolves; evidence that enables the professional to proceed and that makes explicit what often remains implicit and unsaid. What is explicit can be communicated, can be criticised and tested. The professional himself does the road to science of the profession. The investment in professionals’ research in practice is the motor of knowledge-productivity that bridges the theory-practice gap. Research in the arts therapies should lead to ‘knowledge’ in which the ‘art’, nor the ‘subject’ of therapist and client have been lost.
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These are hard days for companies: they have to survive in a market that has been hit by a financial crisis. Many countries in Europe have severe problems trying to overcome this financial crisis. The main remedy applied by governments is to cut back on expenditure, but on the other hand it is said that it is important for a country, and especially for companies, to invest in innovation. These innovations should lead to innovative products that will lead to profitability turnovers for these companies and, as a consequence, improve the economic conditions in a country. Universities provide students with engineering competences, like develop innovation, with which they can show a higher degree of ability to answer complex questions such as how to become players in the market again. Teaching students to become more innovative engineers, Fontys University of Applied Sciences, Department of Engineering, has designed a curriculum in which students are educated in the competence innovation. An important element in the process of teaching innovation to students is the approach of inquiring into possibilities of patents. In the second semester of the first year, students can decide to join an innovative project called: ‘The invention project’. The basis of this project is that students are given the opportunity to create their own invention and with their previously acquired knowledge and skills they design, calculate, prototype and present their invention. In a research project, the experiences of students in this Invention Project have been analysed. The goal of this study was to understand what the success factors are for such a project. The basis of this inquiry is a questionnaire to identify the opinions of students. The research was carried out in the spring semester of 2012. In total 31 students were involved in this research. The results show that there was a high degree of student satisfaction about the Invention Project focused on innovation development. Success factors for this project in the first year of the curriculum were seen: 1 to work on own inventions, 2 development of student’s perception of the total product creation process and 3 to make students see the relevance of contacts with real professionals from industry and from the patent office in their own project. Improvements can be made by: 1 helping students more during the creativity stage in the project and 2 to coach them more on the aspect of engineering a successful invention of which they can be proud. This Invention project is an interesting with which collaborations with other universities can be set up.
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