Globe article explains why Canada’s food guide may be leading Canadians down the wrong road

http://www.theglobeandmail.com/life/health-and-fitness/health-advisor/canadas-food-guide-is-broken-and-no-one-wants-to-fix-it/article24111642/

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Reference books, Articles, Video

McLean, C.L. , Kelly, R., (2010). Creative Arts in Interdisciplinary Practice, Inquiries for Hope and Change, Detselig Enterprises Ltd./Brush Education, Edmonton.

McLean, C.L., Kelly R., (2011). Creative Arts for Community and Cultural Change, Detselig Enterprises Ltd./Brush Education, Edmonton.

McLean, C.L., (2014). Creative Arts in Humane Medicine, Brush Education, Edmonton.

International Journal of the Creative Arts in Interdisciplinary Practice IJCAIP, http://www.ijcaip.com, free and accessible full text articles about creative arts in research and practice

Other articles:

Why Canada’s Food Guide is Leading Canadians Down the Wrong Road

http://www.theglobeandmail.com/life/health-and-fitness/health-advisor/canadas-food-guide-is-broken-and-no-one-wants-to-fix-it/article24111642/

Saldana, Johnny, Ethnodramas about Health and Illness, in McLean, C.L. Kelly, R. Creative Arts in Interdisciplinary Practice, Inquiries for Hope and Change, Detselig Enterprises Ltd./Brush Education, (pg. 167-184)

Ethnodrama video

Ethnodrama excerpts from performances Remember Me for Birds based on research about aging, mental health and autonomy, Cheryl L. McLean 2005 https://www.youtube.com/watch?v=pQv23vYDh0M

Pre Announcements for “Who Cares?” (working title) “a taste of” contextual introductions with preview of the eth

Every good project begins with a plan.  Our plan for this ethnodrama is to stage what we are referring to as “a taste of” short preview performance of the ethnodrama “Who Cares?” (working title).  This preview evening will be comprised of introductory and contextual talks about the research process, challenges and issues concerning caregiving, our goals and what we set out to achieve….and a 40 – 45 min. preview of the play which will be made up of narratives and short monologues performed by actors. (Read about the team)  A panel discussion will follow with opportunities for audience and actor reflection and feedback.  Reception to follow.  The goal is for this preview version of the ethnodrama to lead to creative development and production  of a full length ethnodrama which will be staged in late 2016 and later to produce a film based on the ethnodrama.

Who Cares (working title)

Where?  Lower Denton Blackbox Theatre, Acadia campus, Wolfville,Nova Scotia

When?  Sept. 23 or 24 2015

Who?  open to university community and others with special interests in aging, health, caregiving including caregivers and caregiving organizations, professionals in healthcare, educators,  members of the Wolfville community or anyone who cares and is hoping for change 

About.. Who Cares? An ethnodrama about caregiving, feeding family, love and survival

photo cmclean c.

“Who Cares?” 

An ethnodrama, research based true stories of caregiving, feeding family, love and survival

Written by, Cheryl L. McLean

Producer Lead Researcher, Catherine Morley

On September 23 at 7:00 p.m.  at the Denton theatre, Acadia University, Nova Scotia, we will  present a preview version of a larger ethnodrama currently in development, “a taste of” that Dr. Catherine Morley, lead researcher on this project, and I hope will eventually become a full length ethnodrama adapted later for film. (see info. about the “Who Cares” cast and team) The ethnodrama genre as an art form brings together the two worlds of ethnography and drama.   It is a written research based play script made up of performances consisting of selections of narrative created and adapted from actual interview transcripts, memories and personal stories. The common thread that weaves through these stories is that they are based on lived experiences, accounts and events reflecting the lives of real people. The names of the individuals you will meet have been changed to protect their identities.

These are stories about informal caregivers, caregiving for older family members. The Institute for Research on Public Policy describes informal caregivers as family members, friends or neighbours,… who provide unpaid care to a person who needs support due to a disability, illness or other difficulty, sometimes for extended periods. In their unpaid jobs, they are likely to incur out-of-pocket expenses and can experience significant lifetime income losses. Such personal costs can negatively impact the caregivers’ economic security, health and well-being and they commonly experience stress, social isolation and guilt.

Informal caregivers are, for the most part, 45 years of age or older representing 2.7 million Canadians.

They often have multiple responsibilities and provide assistance despite ongoing work and family demands. In Canada one in four informal caregivers who provides support to older people are themselves 65 years of age or older.

Some 40 million people in the United States are currently age 65 or older and this number is expected to climb to 89 million by 2050.

I was there for the birth of TV, Howdy Doody, Sputnik,man on the moon, the Cuban missile crisis, Kennedy’s assassination, The Beatles, the women’s movement, ….   a baby boomer. I can’t afford not to care. This is my parents’ story and in the future it could be my story.

Why should we care about aging and things like feeding when eating is so common, so natural so very simple? Something we’ve been doing forever, all our lives. One fact that may surprise you is that today malnutrition risk is 37% among Canadian seniors. The truth is  if we fed people better today they wouldn’t be as ill tomorrow, if we fed people better they would have a better quality of life, if we fed people better and provided optimal support to those who care for others now.. we could create conditions to allow seniors to remain safe at home longer rather than living in institutions.

These are true stories about the people who care, caring for and feeding elderly relatives, and the flesh and blood challenges they face every day to keep their relatives well, often fighting incredible odds, alone, while providing a lifeline for those they love. You will hear stories about food and its emotional connections to people and learn what eating and feeding can mean in relationships. In this preview, this “taste of” you will also hear briefly from some of the professionals who seek to support caregivers and help address their challenges. You will witness the honesty, the courage and transparency expressed in these stories as people share feelings that have been unheard publicly until they are revealed on stage during our performances.   We invite you to meet people who care as they bring life to their personal stories and assure others that they are not alone and that what they are stepping into as caregivers is not at all easy. In the sharing  of these stories the invisible becomes visible and in this transformative and embodied act, there is still hope for change.

Collage Visual Way to Link Symbols and Important Themes

Featured imageearly collage process phase 1collage phase 1

Often at the outset of a new project I will begin with a large floor collage to help me visually identify common themes and issues or to draw links between images or cultural symbols that might reoccur.  In a previous ethnodramatic project about the lives of older persons in a residential home for people over 60, a collage became a creative activity I frequently returned to, a fluid and changing multi dimensional construction that grew over time with pictures, objects (spoons, bowls etc.) and information and current news around mental health and autonomy related issues of importance among them access to transportation services, food, family support in crisis,  diagnostic labeling, effects of past traumas, environmental triggering, elder abuse and relocations.  The collage in a narrative sense in terms of writing has been described by Dr.  Norman Denzin when he speaks of ethnoperformaces as postmodern building a narrative collage that critiques culture.  “Speakers can leap forward and backward in time from present to past presenting real news accounts against dramatic historic enactments of the past using poems, monologues, dialogues, voice-overs and interior streams of consciousness,.”  As I look back on that ethnodramatic project and my creative process I find it interesting how many of the ideas and symbols from the original floor collage eventually found themselves into  the final script and installation which was used in live performances.

A project begins, the team

acting

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Cheryl L. McLean is editor of the CAIP Research Series published by Brush Education and books Creative Arts in Humane Medicine, Creative Arts for Community and Cultural Change and Creative Arts in Interdisciplinary Practice, Inquiries for Hope and Change she is also publisher of The International Journal of the Creative Arts in Interdisciplinary Practice IJCAIP.  She was recently awarded a Harrison McCain Visiting Professorship at Acadia University, Nova Scotia.  Working with Assistant Professor and Researcher Catherine Morley in the School of Nutrition and Dietetics Cheryl will be using arts based research methods and is creating,developing and directing an original ethnodrama (play based on research) about aging and family issues around care and feeding.

Cheryl McLean has been active in the creative arts in interdisciplinary research and practice for over ten years and has special interests in the aging and health field.  She also has experience as a researcher and ethnodramatist  actor/playwright gathering research/data and writing scripts and performing  research based stories of lived experience for audiences across a wide range of disciplines.

morley

Producer, Lead Researcher

Catherine Morley , Assistant Professor in the School of Nutrition and Dietetics at Acadia University, is a leader in Canada in the field of dietetics and nutrition who has written extensively about Meanings of Eating and Changes with Illness,..She is also an educator and researcher who  engages in research to raise awareness about the causes, prevention and management of malnutrition in aging Canadians and those living with dementia or changed health status.  In her work she hopes to reduce caregiver burden and the frequency and duration of hospitalization and institutionalization  of older persons.  Research for the ethnodrama  will draw on data from actual interviews conducted by Catherine with family members and caregivers as well as other personal stories of lived experience.

Paula Rockwell, Actor and Vocalist

Paula

Paula Rockwell has an affinity for contemporary music and has released a solo CD, which she co-produced, featuring 20th century Art Songs entitled Fleeting Melodies. The Halifax Herald said…“a repertoire such as this is both unusual and challenging and Rockwell with her beautiful, clear, ringing voice meets their technical demands with assurance and precision.” She also has been featured on several recordings, Scott MacMillan’s The Celtic Mass for the Sea, 1st Baptist Church Choir’s Sing Lullaby under the direction of the late David MacDonald and has had compositions written for her. One of England’s foremost composers, Jonathon Willcocks, wrote a piece for Paula that she debuted at the Green Lake Festival of Music in Wisconsin entitled Mayhem!!The misfortune of Miss Maisy Murgatroyd, which involved the Green Lake Children’s Choir.

Paula has taken on several operatic roles since graduating from University of Toronto working with the Canadian Opera Company, Toronto’s Opera in Concert, Vancouver Opera, Tidal Opera and with Orchestre Baroque de Montreal. Paula has been a regular soloist with Symphony Nova Scotia and the Chorus of Westerly in Rhode Island where she made her American debut singing Brahms’ Alto Rhapsody. She is heard every summer at the Sir David Willcocks Choral Symposium in Lyman, NH, giving master classes and concerts.

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   Robert Seale, Actor

An Acting graduate of the National Theatre School in Montreal, Robert also holds a Master’s Degree summa cum laude in Performance from York University.   He has been an award-winning CAEA professional since 1974, appearing in over 150 leading roles in the major theatres across Canada, and in the U.S.

Besides professional acting and directing, Robert has done over 300 professional consultation, choreography and stunt contracts on stage and film through his company, Fights Unlimited  RGS – including work with such groups as the National Ballet, Shaw Festival, National Arts Centre, Canadian Opera Company, National Ballet, and both the Toronto and Atlantic Film Festivals.02ACADIA03-e1351626298501

Robert Seale, Directing at Acadia University

His company has worked extensively with the RCMP, training recruits in “Crisis Intervention” at Depot Division in Regina. With the Canadian Armed Forces, he recently trained, directed and choreographed a 36 member Naval Boarding Party simulation for the Royal Nova Scotia International Tattoo in Halifax.

In 1992 Robert completed formulation of a national system of fight certification for Canada, and the next year legally incorporated and became founding President of Fight Directors, Canada.  He remained the elected President until 2000, when he withdrew to become Executive Director for the IOSP in Washington, D.C. – the international “Round Table” of professionals.  He has a TacCom Certification from the government of Ontario and holds an internationally recognized certification as a Fight Master.