Creative ageing? Selfhood, temporality and the older adult learner

Sabeti, Shari

doi:10.1080/02601370.2014.987710

Cited by 29 publications

(16 citation statements)

References 19 publications

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“…Here, the value of late-life creativity was based on institutional framing (Pardo-Guerra, 2011) by, for example, opera houses, theatres or dance studios. The empirical material therefore strengthens the argument that creativity is not an expression of individual agency, but a relational and collective process (Sabeti, 2014;Fox, 2015) that includes older individuals, audiences, institutions and other artists in the field. Studies on late-life creativity, hence, further need to problematise the contexts in which creative production in later life happens: cultural institutions, such as theatres, museums and opera houses, have yet to embrace older adults as active producers of art, rather than (passive) consumers (Gallistl et al, 2019), which might be one reason why participation in cultural activities over the age of 65 is declining in most European countries (Falk and Katz-Gerro, 2016).…”

Section: Discussionsupporting

confidence: 63%

What's it worth? Value and valuation of late-life creativity

Gallistl

2020

Ageing and Society

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New interest in late-life creativity has arisen in gerontology. To date, such research has mainly focused on the positive impact creativity has on older adults, but has scarcely contextualised older adults’ creative engagement. Drawing on the sociology of valuation, this article aims to contextualise late-life creativity by critically exploring how creativity gains, stabilises and loses its value and how these processes are related to perceptions, images and discourses addressing old age. Data from 13 interviews with older (60+) adults involved in creative practices in Austria are used to explore these topics. Interviews examined perceptions of creative production, everyday routines and personal attitudes towards ageing. Interviews transcripts were analysed using the documentary method. The analysis revealed three registers of valuation in late-life creativity: economic value, in which valuable creativity was given away at a high revenue; field value, where valuable creativity was appreciated by institutions or other artists in the field; and lifecourse value, in which doing a creative activity for a long time meant being able to produce a creative product that was high in value. This article emphasises late-life creativity as a process of value production that is structured by the making and evaluating of creative products and adds to the current critique that the narrow view of late-life creativity in its associations with wellbeing present a reductionist picture of the capacities that the arts and creativity have for older adults. The results demonstrate the potential for valuation studies in gerontology as they highlight the circumstances and practices by which the activities of older adults are (de)valued. For policy and practice, this article suggests imagining arts-based interventions for older adults beyond the realm of health and wellbeing, and encourages thinking about how valuable artistic experiences can be supported in later life.

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Section: Discussionsupporting

confidence: 63%

What's it worth? Value and valuation of late-life creativity

Gallistl

2020

Ageing and Society

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“…Twenty-four of the articles emphasised the internal processes of learning, while 12 articles focused on external processes, as outlined in Table 1. Articles focusing on the external processes of learning highlighted a variety of themes, such as friendship, sharing knowledge, social networks and the cultural aspects of learning (Park et al, 2016;Richeson et al, 2007;Sabeti, 2015). Sabeti (2015), for example, demonstrated the external processes of learning in a writing class and concluded that: 'This is a creative process that is collaborative and relational.…”

Section: Processes Of Learningmentioning

confidence: 99%

“…Åberg further argued that non-formal learning could create supportive environments for older adults' wellbeing. Other aspects related to social networks as a social determinant were the possibility to connect with other people and establish new relationships (Mackowicz & Wnek-Gozdek, 2016;Sabeti, 2015). Cody et al (1999) maintained that social support 'helps to maintain friendships longer, maintenance of positive self-esteem, reduced age-related stress and depression ' (p. 28).…”

Section: The Determinants Of Healthmentioning

confidence: 99%

A review of research on the relationship between learning and health for older adults

Schoultz

Öhman

Quennerstedt

2020

International Journal of Lifelong Education

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Previous studies have demonstrated that there is a positive relationship between learning activities and health in general and that learning has a positive impact on the psychological, mental and social aspects of health. Despite this, there are still unanswered questions about the relationship between and the concepts of health and learning. The aim of this review has been to map and synthesise research on the relationship between learning and health for older adults in organised or institutionalised education using a conceptual analysis model. The results demonstrate that intrinsic values like learning for its own sake and the joy of learning are emphasised. Moreover, individual factors of health are emphasised and several different concepts are used to explain health. In the final synthesis, four logics are identified concerning the relationship between learning and health: Learning as Quality of Life, Learning as Social Networks, Learning as a Means for Coping and Learning as a Means for Reducing Risk. In conclusion, there is a need for a more in-depth understanding of the ontological and epistemological grounds for learning and health in the field in order to strengthen the cumulative knowledge production about the relationship between older adults learning and health.

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“…In some respects, writing this poem helps Victoria to make sense of these experiences. The encounter with art works has drawn the memory out of her (for a fuller discussion of memory and reminiscence, see Sabeti, ). There have been temporal and spatial disruptions; we are taken back to Berlin 1939 as the title of the poem tells us, and back to a moment in Victoria's personal past.…”

Section: ‘Lines’ and The Anthropology Of Writingmentioning

confidence: 99%

Writing creatively in a museum: tracing lines through persons, art objects and texts

Sabeti

2016

Literacy

Self Cite

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Creative writing is often thought of as an individual and solitary pursuit. This is partly owing to Romantic (and still popular) notions of creativity as residing in highly gifted individuals, but also to the widely held belief that writing is a lonely rather than a social activity. The research presented in this paper provides a unique insight into the creative process by tracing the way one poem is produced by a member of a creative writing class based on a major urban art gallery. Based on a 5‐year ethnographic study of this class, it employs interview material, field notes, photographs and creative writing as data. Using theories from both the “anthropology of writing” (Barton and Papen, ; Latour and Woolgar, 1986) and the “anthropology of creativity” (Ingold, ; Hallam and Ingold, ), I argue that creative writing is a relational and temporal process involving complex and multiple claims for agency. I also go on to show that when the text moves from a private to a public context, these multiple agencies are encompassed and erased under the umbrella of individual authorship.

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Creative ageing? Selfhood, temporality and the older adult learner

Cited by 29 publications

References 19 publications

What's it worth? Value and valuation of late-life creativity

What's it worth? Value and valuation of late-life creativity

A review of research on the relationship between learning and health for older adults

Writing creatively in a museum: tracing lines through persons, art objects and texts

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