Crafting Life Stories in Photocollage: An Online Creative Art-Based Intervention for Older Adults
Abstract
:1. Introduction
1.1. Creative Arts Therapies with Older Adults
1.2. Tele Psychotherapies and Tele-CAT for Older Adults
1.3. An Online Creative Process with Photocollages Based on Dignity Therapy
2. Materials and Methods
2.1. Research Design
2.2. Participants
2.3. The Creative Process for Online Photocollage
2.4. Data Analysis
Stage in the Process | Main Goals | Method and Procedure |
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Introductory call to participants to introduce the study and its aims |
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Session 1: Turning Points |
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Session 2: Values and Legacy for Future Generations |
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Session 3: Future Perspectives and Wisdom |
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Sending a hard copy of the photocollages |
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3. Results
3.1. Experiencing the Creative Process of Photocollages: “This Is True Art What We Are Doing Now”
3.1.1. The Photographs as Projective Stimulus for Personal Content
I am looking at the (photographs), the bicycle, the telephone, the twins, the building. It gives me, it gives me a sense that I am way in the past. I didn’t even remember these things. All the memories you drew from me, all the memories in my head. You really opened them up. Without (this process) I would have never accessed them … I am surprised. You surprised me. It’s a different aspect of nostalgia. I thought we would focus on (a different part of) my life story. And suddenly, you threw me back to after the army.
The landscape that I see there, look, look, it’s not only the desert, a crater. There are changes there. Look at the crater, the sand, the earth, the color, the granite. This is all a landscape of how the world changes. This is something. Look at the sand, yellowish-gray in color, the crumbling tree trunk. Thousands of years. This is life, exactly like life. We age, crumble. Crumble and finish. It’s the same, the same. Like a mirror (of life).
This one (this photo) for me represents that period in life in which my husband was far away. I told him he should buy me a cow. Because here, in our village, there was a cheese factory, where you could buy milk, and there was this dairy man and so I brought my milk, once a month, and the dairy man made me the cheese. I kept some for my children and the rest I sold so I managed, I was able to provide food for my children.
Well, I think the idea of showing pictures in general to evoke whatever the topic is, is a very good idea. I think it leads, for me at least, to an enjoyable experience. With an interview, you sort of have preconceived ideas about what it is you want to know. But with the pictures, it allowed me to be the one to more or less lead where we’re going to go. I didn’t feel invaded. I didn’t feel like sort of attacked in any way. You didn’t invade my privacy. I felt safe.
3.1.2. Engaging in an Embodied Experience
Photographs speak. The feeling from this photo, for instance, this dad with his child, you can talk for half an hour but it’s an idea. This is felt, you touch, you touch the emotion with your hand. I find it stimulating, much more than a dialogue, in the sense that photography gives you the emotion. And the emotion, you work with memory, with the reflection. That way, it draws out the true things one has inside.
Yes, this is part of my life. The first time I went to the beach, I felt the foam in my entire body, not just my feet, I don’t know how to describe it. When the waves break at the shore, it’s like an earthquake on the shore. I felt it, I got emotional. It wasn’t something I had experienced before. The first time I went to the beach I was five maybe six years old.
I am sweating as we are talking about it (future desires). I’m not working hard but just thinking about it makes me sweat. I don’t know if this is natural … it’s a very exciting, emotional topic. It lets me dream, makes me sweat!
3.1.3. Artistic Enjoyment
It is very beautiful. It reminds me of the way to Jericho, the way to the Dead Sea… The desert, the desert that we see from the amphitheater in Mount Scopus. They (the photos) are all so beautiful, they are all so beautiful. They are all special. They are full of substance, it’s wonderful (laughs).
3.1.4. Challenges Associated with the Process
Look, I, it’s probably not right for me, this collage. Because I, I like to use words, and, and not something that is so abstract. I can tell you what the, what can be learned from my story. And if you want to, add words to it.
It did not cover life, not a complete life, and not an incomplete one, not even the main chapters. In the pictures there were jumps from, from event to event and from period to period. And there was no order, no logical order. I felt, as I told you, that it was strained. And there were all sorts of holes left in my biography, in my past, that were not covered.
It’s harder to link it, philosophically, to points in my life, much harder. What attracts me more is the arrangement, I mean, the perspective, more than connecting life segments to the photographs. I’m making this, the connection, because that’s … we started with that. I mean, you led to it, but it does not come naturally, a little more strained because I understand that there is a purpose to the task of choosing the photographs, it is difficult for me.
3.2. Collecting Life Experiences through the Art Product of Photocollage: “Everything Is Here, Life, Everything. Outstanding.”
I like this one (this photograph, as the center of my collage) very much, this one of this father holding his child. I like it very much. The importance of a father in the family, especially now when fathers either are too busy working or are unprepared. I think a man who does his job as a father well gives something very valuable to his family. I find this very important.
The cross, let’s put it here or above. Above, above because it’s the most important of all. It covers everything else. That’s it, move the bird. The bird needs to move. That’s it, above the father. It’s as if it embraces everything.
It’s a promise of loyalty. Because we felt very united, engaged in this thing. You know, also later through the years, when I woke up in the morning, I immediately found my husband’s hand holding mine and then we woke up and did what we had to, but first thing, he held my hand, you know? Therefore, it was very important for us to have this first good morning that we gave each other with our hands, you know? And I am moved when I see these hands holding each other because I spent every morning knowing I had someone who loved me close to me. And I miss him a lot now.
Grandmother and granddaughter. Here I would also put the picture of the grandfather and son, the grandson. Below. A very soothing picture, of a grandfather and grandson talking to each other. I do not know whether to call it the “Generation gap”, or something like that.
The (photograph of the) “flight to the sky”, and the clocks, I would say “how time flies” (...) Yes, this is a good place, at the bottom right side (of the collage). And the candle (at the left side of collage), that is the end. I would like (it) to be in my bedroom, surrounded by my family. And close friends. And they should sing me songs that I like. I could go peacefully.
This is the age where I approach the end. My granddaughter on the other hand has just begun her life. I really spend quality time with her. I play with her, tell her stories, read to her, and play. I enjoy her … there is such serenity in this picture. Peace. Okay, you can just (title it) “Peace of mind”.
3.3. The Therapeutic Environment: “I Feel like Hugging You”
3.3.1. Experiencing the Online Setting
I’m not used to the computer. I don’t have a computer at home. And it’s as if I’m talking to a wall I don’t know, do you understand? If it was personal, if I met you and we spoke, that’s something else, but to speak to the computer, it makes me feel uncomfortable. When I speak to someone, I see them personally and it makes me feel good.
3.3.2. Participant Interactions with the Therapists
I feel like hugging you, because, this evening, you gave me the joy to express things I had inside. I would wait impatiently for you to call me, I waited, I was impatient… I would like to meet you again; you gave me joy.
4. Discussion
5. Limitations
6. Future Research
7. Conclusions
Author Contributions
Funding
Institutional Review Board Statement
Informed Consent Statement
Data Availability Statement
Conflicts of Interest
References
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Variables | Israeli Participants | Italian Participants | Total |
---|---|---|---|
Mean age (range) | 83.92 (80–92) | 84 (78–88) | 83.96 (78–92) |
Gender | 6 females | 8 females | 58.33% female |
Place of birth | 3 in Israel; 4 in N. America; 4 in Europe; 1 in Asia | All were from Italy | 37.5% had immigrated (only Israeli participants) |
Marital status | 1 married; 2 divorced; 9 widowed | 5 married; 7 widowed | 25% married |
Education | 4 with a high school education; 8 with a college education | 6 with a primary school education; 6 with high school education | 25% with a primary school education; 41.66% with a high school education; 33.33% with a college education |
Religiosity | 8 defined themselves as secular; 4 as religious | 2 defined themselves secular; 10 religious | 58.33% defined themselves as religious |
Religion | 11 secular Jewish; 1 atheist | All the participants considered themselves Catholic | 45.83% defined themselves as secular Jewish; 50% Catholic; 4.16% atheist. |
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Keisari, S.; Piol, S.; Elkarif, T.; Mola, G.; Testoni, I. Crafting Life Stories in Photocollage: An Online Creative Art-Based Intervention for Older Adults. Behav. Sci. 2022, 12, 1. https://doi.org/10.3390/bs12010001
Keisari S, Piol S, Elkarif T, Mola G, Testoni I. Crafting Life Stories in Photocollage: An Online Creative Art-Based Intervention for Older Adults. Behavioral Sciences. 2022; 12(1):1. https://doi.org/10.3390/bs12010001
Chicago/Turabian StyleKeisari, Shoshi, Silvia Piol, Talia Elkarif, Giada Mola, and Ines Testoni. 2022. "Crafting Life Stories in Photocollage: An Online Creative Art-Based Intervention for Older Adults" Behavioral Sciences 12, no. 1: 1. https://doi.org/10.3390/bs12010001