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Drama—A tool for nutrition education with older adults
Gem No.:lS
Drama-A Tool lor Nutrition Education with Older Adults Barbara W. Davis, Gerontology and Home Economics Extension, 208 Armsby Building, The Pennsylvania State University, University Park, Pennsylvania 16802
nutrition information with their peers in senior centers and to link the elderly in their communities with sources of reliable nutrition information. One objective of our training program was to demonstrate a variety of educational techniques that could enrich the effectiveness of the peer educator's teaching. To illustrate an appropriate use of drama in a group situation, we asked two participants to rehearse the play Meals on Wheels (2) with an improvisational approach. The players gathered simple props, such as dishes, a table, chairs, a bathrobe, and slippers. With the other peer-educator trainees as the audience, the actors read and informally performed the lO-minute playas a discussion starter. The peer educators discussed the play, and some used it with groups in their own communities. After one presentation, a peer educator reported that participants seemed surprised to learn that some older people don't cook for themselves because they lack the motivation to do so. Another peer educator wrote two short plays of her own, drawing on observations of real situations for her content. She said she liked to use drama because "people get tired of hearing someone get up and talk. People see themselves in the characters of the play. If someone is acting in a childish way, they recognize where they, themselves, need to change." As the peer educators found, drama can help people explore a variety of attitudes related to nutrition. This approach has wide applicability for nutrition education with a variety of target audiences, whether conducted by peer educators or professionals. With imagination and creativity, it can infuse nutrition education with an empathic, humanistic dimension.
Psychosocial conditions can have a powerful influence on the nutritional wellbeing of individuals, but effectively explaining or describing this influence is often difficult. Drama holds promise as a medium through which we can convey the impact of psychosocial conditions on nutrition. A short play, previously rehearsed by participants in the group, immediately arouses audience interest and involvement. The audience participates through identifying with the characters in the play on a feeling level, and is receptive to the concepts being presented. When the play is carried out with skill and conviction, actors and audience are especially likely to rememqer the material presented because there is a totality to their involvement through sight, hearing, thought, and emotions. Drama also provides a safe way for group members to approach a topic that may be too painful for some of them to discuss, initially, on the basis of their own experience. Others in the audience may not yet have experienced traumatic losses but need to be sensitized to the powerful effect of emotions on the nutrition status of those who have had such experiences as older adults. After the presentation of a play, group members should have the opportunity to discuss its message and to share their experiences. By planning skillfully worded questions and capitalizing on insightful comments by group members, im alert nutrition educator can help participants focus on the primary theme of the drama and create dialog about appropriate ways to assist people whose nutrition is, or could eventually be, sufferLiterature Cited ing because of emotional stress. The edu1. Shannon, B. M., H. Smiciklas-Wright, cator can also help participants consider B. W. Davis, and C. Lewis. A peer educator steps they might take to ensure proper approach to nutrition for the elderly. nutrition in the event of a personal trauma Gerontologist 23(2): 123-26, 1983. of their own. 2. Orlock, J., and R. Cornish. Short playsjor
A Case in Point
the long living. Boston: Baker's Plays, 1976.
zc: ...fit.... fit .... o
"Meals on Wheels"
A Synopsis Martha Sills, a lonely woman in her eighties, lives by herself with her pet cat and receives Meals on Wheels. George Crowder, the new 65-year-old driver, appears with her lunch. Martha uses her wiles to entice him to stay jar a visit, even to the point oj deliberately sitting in an empty wheelchair, pretending she can't walk! George heads jar the door. MARTHA: GEORGE:
Sills.
Please don't go, it's no fun to eat alone.
MARTHA:
George explains that someone else is waiting jar a meal he must deliver. Well, I bet they're not as old as I am-and I bet it's not their birthday." MARTHA:
They have two more exchanges oj conversation. You can't walk out on me on my birthday - not when I'm confined to my wheelchair.
MARTHA:
Geoge makes the concession to stay jar jive minutes, but Martha threatens not to eat as he prepares to leave. Shejinally admits that it is not her birthday nor is she a cripple. Martha speaks jar many in situations similar to hers. I just can't seem to live on food alone. Sometimes I need somebody. It's dry bread and no water when you're all alone. It gets so hard to swallow ... MARTHA:
George works through the situation with Martha and comes up with a plan to rearrange his route so he can visit with her the next time. (George demonstrates the kind oj sensitivity that is well worth emulating by anyone who jinds a similar opportunity to be supportive.)
~_ _ _ _ _ _ _ _ _
In 1981 I was part of a team which designed and carried out a demonstration project that used a peer-educator approach to nutrition education for the elderly (1). We recruited 22 peer educators, age 60 and over, from 12 counties throughout the state, and provided them with four days of intensive training. Their role as peer educators was to share sound JOURNAL OF NUTRITION EDUCATION
Would you like a highball? No, I don't think so, Mrs.
15:138c, 1983
:I
= ... •
!
•
Drama-A Tool lor Nutrition Education with Older Adults Barbara W. Davis, Gerontology and Home Economics Extension, 208 Armsby Building, The Pennsylvania State University, University Park, Pennsylvania 16802
nutrition information with their peers in senior centers and to link the elderly in their communities with sources of reliable nutrition information. One objective of our training program was to demonstrate a variety of educational techniques that could enrich the effectiveness of the peer educator's teaching. To illustrate an appropriate use of drama in a group situation, we asked two participants to rehearse the play Meals on Wheels (2) with an improvisational approach. The players gathered simple props, such as dishes, a table, chairs, a bathrobe, and slippers. With the other peer-educator trainees as the audience, the actors read and informally performed the lO-minute playas a discussion starter. The peer educators discussed the play, and some used it with groups in their own communities. After one presentation, a peer educator reported that participants seemed surprised to learn that some older people don't cook for themselves because they lack the motivation to do so. Another peer educator wrote two short plays of her own, drawing on observations of real situations for her content. She said she liked to use drama because "people get tired of hearing someone get up and talk. People see themselves in the characters of the play. If someone is acting in a childish way, they recognize where they, themselves, need to change." As the peer educators found, drama can help people explore a variety of attitudes related to nutrition. This approach has wide applicability for nutrition education with a variety of target audiences, whether conducted by peer educators or professionals. With imagination and creativity, it can infuse nutrition education with an empathic, humanistic dimension.
Psychosocial conditions can have a powerful influence on the nutritional wellbeing of individuals, but effectively explaining or describing this influence is often difficult. Drama holds promise as a medium through which we can convey the impact of psychosocial conditions on nutrition. A short play, previously rehearsed by participants in the group, immediately arouses audience interest and involvement. The audience participates through identifying with the characters in the play on a feeling level, and is receptive to the concepts being presented. When the play is carried out with skill and conviction, actors and audience are especially likely to rememqer the material presented because there is a totality to their involvement through sight, hearing, thought, and emotions. Drama also provides a safe way for group members to approach a topic that may be too painful for some of them to discuss, initially, on the basis of their own experience. Others in the audience may not yet have experienced traumatic losses but need to be sensitized to the powerful effect of emotions on the nutrition status of those who have had such experiences as older adults. After the presentation of a play, group members should have the opportunity to discuss its message and to share their experiences. By planning skillfully worded questions and capitalizing on insightful comments by group members, im alert nutrition educator can help participants focus on the primary theme of the drama and create dialog about appropriate ways to assist people whose nutrition is, or could eventually be, sufferLiterature Cited ing because of emotional stress. The edu1. Shannon, B. M., H. Smiciklas-Wright, cator can also help participants consider B. W. Davis, and C. Lewis. A peer educator steps they might take to ensure proper approach to nutrition for the elderly. nutrition in the event of a personal trauma Gerontologist 23(2): 123-26, 1983. of their own. 2. Orlock, J., and R. Cornish. Short playsjor
A Case in Point
the long living. Boston: Baker's Plays, 1976.
zc: ...fit.... fit .... o
"Meals on Wheels"
A Synopsis Martha Sills, a lonely woman in her eighties, lives by herself with her pet cat and receives Meals on Wheels. George Crowder, the new 65-year-old driver, appears with her lunch. Martha uses her wiles to entice him to stay jar a visit, even to the point oj deliberately sitting in an empty wheelchair, pretending she can't walk! George heads jar the door. MARTHA: GEORGE:
Sills.
Please don't go, it's no fun to eat alone.
MARTHA:
George explains that someone else is waiting jar a meal he must deliver. Well, I bet they're not as old as I am-and I bet it's not their birthday." MARTHA:
They have two more exchanges oj conversation. You can't walk out on me on my birthday - not when I'm confined to my wheelchair.
MARTHA:
Geoge makes the concession to stay jar jive minutes, but Martha threatens not to eat as he prepares to leave. Shejinally admits that it is not her birthday nor is she a cripple. Martha speaks jar many in situations similar to hers. I just can't seem to live on food alone. Sometimes I need somebody. It's dry bread and no water when you're all alone. It gets so hard to swallow ... MARTHA:
George works through the situation with Martha and comes up with a plan to rearrange his route so he can visit with her the next time. (George demonstrates the kind oj sensitivity that is well worth emulating by anyone who jinds a similar opportunity to be supportive.)
~_ _ _ _ _ _ _ _ _
In 1981 I was part of a team which designed and carried out a demonstration project that used a peer-educator approach to nutrition education for the elderly (1). We recruited 22 peer educators, age 60 and over, from 12 counties throughout the state, and provided them with four days of intensive training. Their role as peer educators was to share sound JOURNAL OF NUTRITION EDUCATION
Would you like a highball? No, I don't think so, Mrs.
15:138c, 1983
:I
= ... •
!
•