ED 133 906

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INSTITUTIONPUB DATENOTE

_.-AVAILABLE FROM

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EA 009 171

We're Pleased That You Are Interested in Making theArts Accessible to Everyone . . .

Educational Facilities Labs., Inc., New York, N.Y.[76]23p.Educational Facilities Laboratories, Inc., 850 ThirdAvenue, Nev York, New York 10022 (free)

MF-$0.83 Plus Postage. MC Not Available from EDRS.*Architectural Barriers; *Art Activities; *ArtsCenters; Children; *Handicapped; MultiplyHandicapped; Older Adults; Physically Handicapped;*Resource Guides

ABSTRACTThis booklet is the first step in a nationwide

project to provide information that can be used for improving theaccessibility of buildings and their programs for the arts. Artsprograms and facilities are described that have been designed toovercome barriers to children, the elderly, and the handicapped. Thesecond part lists organizations and resources that can help peopleinterested in children's arts, senior citizens' arts, arts and thehandicapped, architectural barriers, architectural programs, and artstherapy. Order forms are provided for a free information service andfor several reports mentioned throughout the.booklet. (Author/MLF)

***********************************************************************Doc,m- 'ts acquired by ERIC include many informal unpublished

* materia ot available from other sources. ERIC makes every effort ** to obtain the best copy available. Nevertheless, items of marginal ** reproducibility are often encountered and this affects the quality ** of the microfiche and hardcopy reproductions ERIC makes available ** via the ERIC Document Reproduction Service (EDRS). EDRS is not* responsible for the quality of the original document. Reproductions ** supplied by EDRS are the best that can be made from the original.***********************************************************************

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. so we are sending this publicaJtion to you as the first step in anationwide project to provide in-formation that can be used for im-pr ving the accessibility of build-ings and their programs for thearts. The project is jointly spon-sored by the National Endowmentfor the Arts and EducationalFacilities Laboratories.

This booklet is divided into fourparts. The first describes arts pro-grams and facilities that have beendesigned to overcome barriers tochildren, the elderly, and the hand-icapped. The second part lists or-ganizations and resources thatcan help people interested in chil-dren's arts, senior citizen arts, artsand the handicapped, architec-tural barriers, architectural pro-grams, and arts therapy. The thirdpart, page 21, is a removable orderform for several EFL/National En-dowment for the Arts reports men-tioned throughout the booklet, in-cluding Arts and the Handicapped:An Issue of Access. Finally, theback cover is an enrollment cardfor a free information service thatwill continue the project beyondthis publication. After you are en-rolled in this service we will supplynew materials based on your in-formation requests.

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America is an assortment of many differentpeople fi om different backgrounds and cultures,with different abilities and disabilities. The build-ings they use, and the programs within them, areusually designed for physically fit adults of nor-mal intelligence and average education. Unfor-tunately, many Americans are riot such perfectpeople. In a population of 210.million, some arepregnant (2 million), elderly (20 mfflion), 5 yearsor under (17 million), or they are between 6 and13 years (19 million). The handicapped comprisean equally large segment of the population. Ac-cording to the latest estimates, there are 11.7million disabled, 12.5 million injured, 2.4 milliondeaf, 11 million hearing impaired, 1.3 million blind,8.2 million visually impaired, 6.8 million mentallyretarded, 1.7 million homebound, and 2.1 millioninstitutionalized United States citizens.

Children

As potential patrons and artists-in-the-making,children are often considered reluctant nonpar-ticipatory recruits for a field in which adults arethe only genuine professionals. A small butgrowing number of museums, however, are de-signing children's programs and facilities fordirect hands-on experiences in the arts. In asense. they have no art objects; rather all ar-tifacts are tools which the visitor can use tocreate an arts experience instead of an artsobject. Most of these museums are concernedwith science and history, although many alsocontain studio workshops. An EFL report is avail-able on these experience-oriented museums.

A few established museums. such as the Met-ropolitan Museum of Art and the ClevelandMuseum of Art are legitimizing participatory artsfor children by introc'ucing special experientialgallery/studio facilities and programs. Outsidemuseum walls, independent gallery/studiosserve as a link between the museums and theschools. Kansas City's Kaleidoscope. for exam-ple. is a creative participatory arts exhibit foryoung children supported by Hallmark Cards,Inc. Children enter through a series of sensorytactile exhibits designed to stimulate the imagi-nation and heighten their awarenesE 1 .`-te arts.Afterward, the young artists maki ,t 1r owncreations from an array of project tables includ-ing masks, puppetry, melted wax. banners, col-

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lages, transparencies, and holiday decorations.Write: Rachel Chambers, Kaleidoscope, P.O.Box 437, Kansas City, Mo. 64141.

Participatory arts activities for children havenaturally led some children's arts studios toestablish permanent galleries for high qualityartworks. The Children's Art Carnival in NewYork City, for example, uses artworks from itsbrownstone studios for special exhibits keyed tocurrent themes. Carnival also organizes travelingchildren's collections each year for museums,s-hools and colleges. Write: Betty BlaytonTaylor, Children's Art Carnival, 62 Hamilton Ter-race, New York, N.Y. 10031.

In St. Louis, the nonprofit Children's ArtBazaar is dedicated to "presenting, preserving,and promoting childrer's art on a noncompeti-tive basis." From its workshops, the Bazaar'sgallery sells children's artworks, reserves somefor a permanent collection, and uses others foreducational exhibits, special displays, and aninternational exchange program. Write: RoslieMeier, Special Development, Children's ArtBazaar, 7425 Forsyth, Clayton, Mo. 63105.

A municipally supported children's art studioin Los Angeles, The Junior Arts Center, houses apermanent collection of two-dimensionalartworks by young people plus a catalogued butunedited collection of 8mm student films. Signif-icantly, a large number of handicapped childrenare involved in the Center's arts activities. Write:Claire Deussen, Director, Junior Arts Center,4814 Hollywood Blvd., Los Angeles, Calif. 90027.

The Creative Children's Arts Center is a com-bined school, arts studio, and exhibition galleryprimarily for creative children who are hand-icapped or disadvantaged. The only permanentexhibition of children's art in the Chicago Met-ropolitan region, the gallery also accepts artworkfrom the city's nonhandicapped children andonce a year sponsors a large outdoor art show atwhich young artists"special" or notcanexhibit or sell their work. Write: Pat Atherton,President, Creative Children's Arts, 614 LincolnAve., Winnetka, III. 60093.

Elderly

Long neglected as potential arts patrons, theelderly are awakening to a new interest in thearts as a means to self-fulfillment and second

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careers. Chicago's Dream Theater Company ac-tively encouraged many local senior citizens toattend a series of workshops on dreams. Thecompany developed the senior citizens' life-styles, hopes and unconscious desires into aspecial dramatic collage of emotional, physical,and visual images. Called Heritage, the show isperformed once a week at the Body Politic The-ater and expects to tour nationwide in 1977.Write: Barbara Robin, The Dream Theater, 2261N. Lincoln Ave., Chicago, III. 60614.

in St. Paul, the COMPAS project administerstwo senior citizen programs: a Seniors and theArts series of arts classes which developed asenior theater group and a senior choral, and anArtists and the Aging program which hires pro-fessional artists (a potter, a dancer, two poets,two visual artists, and a fibers artist) to work withsenior citizens citywide. COMPAS intends ;oexpand both programs due to a swelling demandfor classes. Write: Joan Beaubien, Project Direc-tor, COMPAS, Old Federal Courts Building, 75 W.Fifth St., St. Paul, Minn. 55102.

At Southern Illinois University, the coordinatorof the program on aging and the director ofperforming arts jointly developed a series ofchoreographed exercises. Ultimately, 300seniors were involved in the programten ofthem established an entirely senior citizen dancecompany that performs in schools, centers forthe elderly, nursing homes, and community cen-ters across the city. Write: Catherine Dunham,Director, Performing Arts Training Center,Southern Illinois University at Edwardsville, EastSt. Louis, III. 62201.

In 1973, the Rhode Island State Arts Councilestablished a statewide Arts and the Aging out-reach program which solicits professional artiststo teach workshops for senior citizens in crafts,humanities, and the performing arts. The artistsinvented some interesting new facilities (such asa one-handed loom) and helped develop a seniorcitizen's craft cooperative in Providence. Write:Margo Honig, Program Director, Rhode IslandState Council on the Arts, 4365 Post Road, EastGreenwich, R.I. 02818.

Physically Handicapped

When physically disabled people are consideredfrom the beginning of design, accessible arts

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facilities need not cost more than conventionalbuildings. According to the director of the Kim-bell Art Museum in Ft. Worth, Texas, his barrier-free museum cost less than originally projectedfor a conventional building. Inside, low-hungpaintings, special pedestals, adjustable easels,and display cases are equally convenient to chil-dren, the handicapped, and elderly patrons.Write: Richard Brown, Director, Kimbell ArtMuseum, P.O. Box 9440, Ft. Worth, Texas 76107.

Design for the handicapped often results inbetter facilities for all people. In Binghamton,N.Y., consideration for the handicapped led to acitywide second level plaza and bridge systemthat separates pedestrians from vehicular traffic,curbs, and other architectural barriers. Linkedinto the system, a new barrier-free memorialarena attracts many handicapped patrons to per-formances, an arts gallery, and community meet-ing rooms. Write: Robert Eronimous, Director ofPlanning, Community Development Department,City Hall, Government Plaza, Binghamton, N.Y.13901.

Often admission restrictions steer the hand-icapped away from arts activities consideredinappropriate for disabled people. North Caro-lina's St. Andrew's Presbyterian Collegespecializes in integrating the physically handi-capped student into all aspects of higher educa-tion. As a result, there are physically handicap-ped students majoring in music, painting, finearts, literature, drama, and theater. Write: Direc-tor of Communications, St. Andrew's Presbyte-rian College, Laurinburg, N.C. 28352.

AccessibilitY to the arts also implies that anadequately talented student must be able toobtain the prerequisite credentials and careerexperiences essential for professional arts. Mostschools of art do not encourage handicappedenrollment but each year, the Arrowmont CraftsSchool in Gatlinburg. Term. runs a 10-weeksummer school crafts workshop specially for thehandicapped. With barrier-free facilities, specialparking spaces and handicapped living units onthe first floor, Arrowmont works with the Univer-sity of Tennessee to help handicapped studentsobtain degrees in crafts and interior design.Write: Marion Heard, Director, ArrowmontSchool of Crafts, Box 567, Gatli nbu rg, Tenn. 37738.

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For information about eliminating architec-tural barriers to the physically handicapped, seelisting on page 17, and Arts and the Handicap-ped: An Issue of Access.

Blind and Visually Impaired

There are 9.5 million blind and visually impairedpeople in the United States. With a large numberof potential patrons unable to benefit from con-ventional museum exhibitions, dozens ofmuseums have established permanent touchand feel galleries which have become the originof a new movement to make the arts moreaccessible to all people.

The Mary Duke Biddle Gallery at the NorthCarolina Museum of Art initiated the movementin 1966 and has remained a center of informationand research. Originally, the museum convertedthree existing exhibition spaces into a tactilegallery for the blind. The gallery was so success-ful that the museum soon allowed all visitors totake advantage of the textured walls, tactilesculpture and intensely lighted paintings. Today,the gallery logs as many as 10,000 visitors amonthabout 10 percent of whom are visuallyhandicapped. Write: Maya M. Reid, Curator,Mary Duke Biddle Gallery, North CarolinaMuseum of Art, Raleigh, N.C. 27611.

Museum education departments are also be-ginning to recognize the importance of provid-ing equal opportunity to the handicapped. Forexample, the Philadelphia Museum of Art hasestablished a special fine arts course for visuallyhandicapped adults. Called Form in Art, 36adults ages 18 to 80 meet once a week in studioswhere they are trained how to feel, then how toappreciate, and finally how to produce profes-sional quality art. Write: David H. Katzive. Chief,Division of Education. Philadelphia Museum ofArt, Philadelphia, Pa. 19130.

Of all the arts, music is perhaps the art inwhich a blind person can participate mostfreelywitness scores of blind professionalmusicians. A national organization, The LouisBraille Foundation for Blind Musicians, Inc.,helps talented blind people to achieve careers inmusic through services that include auditions,'evaluation and counseling, scholarship aid,sponsorships, publicity and promotion, trans-criptions and copyrighting assistance, musical

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instruments and materials for the needy, plusreferrals to appropriate music education pro-grams for the blind. Write: Sheldon Freund,Executive Director. Louis Braille Foundation forBlind Musicians. Inc., 112 E. 19th St., New York,N Y. 10003.

Facilities play a key role in the development ofappropriate programs for the blind. Isolated invarious schools across the United States, de-signers and artists are inventing new devices formaking the arts more accessible to the visuallyand hearing handicapped. Arts and the Hand-icapped: An Issue of Access discusses scores ofnew facilities and also lists existing tactile gal-leries. nature trails and fragrance gardens.

Deaf and Hearing Impaired

Because of secondary emotional complicationsand communication difficulties inherent in deaf-ness. the hearing-impaired person is often iso-lated from mainstream society. The Los AngelesJunior Arts Center specializes in integratinghandicapped children into a wide variety ofstudio and participatory arts. Special programsin print and filmmaking for the deaf enablehearing-impaired children to work alongsidenormal children and those with other handicapsas well. Junior Arts also features mainstreamprograms for children of all handicaps. Write:Claire Deussen. Director, Junior Arts Center,4814 Hollywood Blvd.. Los Angeles, Calif. 90027.

Because of preconceived notions about deaf-ness, many hearing-impaired people are neverexposed to various art forms. Graphic arts,drama, and photography are the most frequentlymentioned arts programs for the deaf whilemusic is almost never considered. However, To-ronto's Metropolitan School for the Deaf and thePerkins School in Watertown. Mass. have de-veloped new devices which enable deaf studentsto feel musical vibrations. But of all the arts,architecture is probably the most often over-looked as an appropriate arts program for thehandicapped.

Working with a firm of young architects, theLearning Center for the Deaf in Massachusettsturned a barn renovation project into a vitalschool-wide learning experience. The architectsbuilt a model of the proposed barn conversionand worked with the students to cooperatively8 9

plan a new open plan academic environment,often teaching courses and concepts in draftingand layout design. During actual construction,the students participated in the demolition, con-struction, and masonry work. Write: WarrenSchwab, Director, The Learning Center for deafchildren, 848 Central St.. Framingham Mass.01701.

To give deaf people access to careers in thearts, a few enlightened "hearing" colleges pro-vide compensatory on-campus services, and afew schools of the arts include programs formatriculating deaf studentsthe North CarolinaSchool of the Arts for example. The bulk of thenation's deaf youths, however, attend either Gal-laudet College in Washington, D.C., or the Na-tional Technical Institute for the Deaf (NTID) inRochester, N.Y.

Gallaudet students can major in drama orvisual arts but the college offers no graduatedegrees in the arts. NTID offers 20 majors inapplied arts for associated arts degrees withwhich many students obtain immediate employ-ment. About one third enroll in other schools tocomplete advanced degrees in the arts.

Perhaps the most renowned career arts centerfor the deaf is the O'Neill Memorial TheaterCenter in Waterford, Conn. On a former estateleased for $1 a year, the center houses TheNational Theater of the Deaf, a professional per-forming arts company which performsworldwide for both hearing and nonhearing au-diences, The Little Theater of the Deaf, whichperforms traditional literature and new works forboth hearing and hearini-impaired children, andThe Professional School for Deaf Theatre Per-sonnel, the Western world's only professionaltraining center for deaf people involved in dra-matics for the deaf. For many of their students,the O'Neill Center arranges courses aimed atadvanced degrees in the arts through Connect-icut College in New London. Write: The O'NeillMemorial Theater Center, 305 Great Neck Rd.,Waterford, Conn. 06385.

Arts and the Handicapped discusses manynew arts facilities and programs for the deaf.

Mentally Retarded

Arts and crafts are not unknown to many men-tally retarded people. Most schools and institu-

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tions for the retarded use arts training as aremedial learning program prior to vocationalcourses aimed at eventual employment. TheOrange Grove Center for the Retarded in Chat-tanooga. Tenn.. for example, has a vigorous artsprogram which produces artworks sold all overthe Southeastern region. In addition, studentsmanage, stock, maintain and clerk a smallartwork store that is open to the general public.In the school's contract workshop, paid studentemployees manufacture 75.000 pens, mechani-cal pencils, dried flower arrangements and otherart products each day. Write: James Taylor,Orange Grove Center for the Retarded, Inc., 615Derby St., Chattanooga. Tenn. 37404.

Beyond arts and crafts, however, other centersfor the retarded are beginning to explore newtechniques for making all the arts accessible tothe mentally retarded. The music department atthe Arkansas Children's Colony has invented asimplified musical coordinating device whichenables students to participate in a concert bandcomparable to many junior high schools. The

device is a large sheet of instructions positionedabove the conductor's head on metal stands.The sheet is divided into six panels. each giving aseparate musical instruction in letters and signs.The conductor gives traditional directions withhis hands. and with his feet operates lightsbehind the six panels. The musicians play whena panel is lighted with the color assigned to theirinstrument. When several musicians are playingtogether, the instruction sheet becomes its own"light show. Write: Ouida Wright, Director ofMusic, Arkansas Children's Colony, Conway,Ark. 72032.

In Red Oak, Iowa, The Southwest lowa Learn-ing Resources Center pioneered two projects in

media and career arts for the retarded. The first,Project Communicate, used full-length featurefilms to encourage integrated experiences withregular students plus follow-up art and academicactivities related to the topic of the film. Thesecond, Project Discovery, comprises 44 differ-ent occupational exploration kits containingmaterials for a complete learning-by-doing voca-tional course. The kits include courses in profes-sional art, industrial design, advertising art, pho-tography, media technology, and horticulture.Write: Bill Horner, President, Southwest Iowa

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Learning Resources Center, 401 Reed St., RedOak, Iowa 51566.

Promising a unique pilot program in theaterand drama for the mentally retarded. Broadway'sO'Neill Theater Center will launch in 1976 aclassic Mississippi River Showboat with a the-ater and performing arts studio. The vessel, ac-tually an old railcar barge converted into anitinerant community arts center, will dock alongthe Hudson River. Showboat's staff is developingmaterials for workshops in puppetry, dance, op-era, theater and instrumental music for all va-rieties of handicaps so that no child or adult willbe left out of the events. Write: Becky Hannum,Associate. Showboat, O'Neill Theater Center,1860 Broadway. New York, N.Y. 10023.

The Learning Disabled

Learning disabled people have a need for ac-tivities in which they' can excelsuccess-oriented programs that reinforce motivation andcontinued effort. In, this respect, the arts areespecially suited.

The Pasadena Art Workshops and the LivingArts and Science Center. two new communityarts centers, both found space in vacantfacilitiesthe former in an underused schooland the latter in two mid-nineteenth centuryhouses. Studio courses in crafts, painting, pho-tography, sculpture, music, and drama are de-signed to provide motivational support throughrecognition and achievement, thereby helpingstudents to build a better self-image. At LivingArts, the staff encourages experimentation withdifferent arts media by always keeping materialsNithin reach and ready for use. Write: DeborahBrewer, Director, Pasadena Art Workshops, 143N. Peoria St., Pasadena. Calif. 91103. Write:James E. Seidelman, Director, The Living Artsand Science Center, 362 Walnut St., Lexington,(y. 40508.

A program in California, called the Family_earning Center. uses the arts to remediateearning disabilities. The principal artists arefoung mothers who operate in backyards, com-nunity centers, schools and churches. The pro-ram teaches the mothers how to create and)uild perceptual toys, playgrounds and educe-ional tools from free or inexpensive materials."he mothers have created some exciting new

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facilities to heighten perceptual abilities andstrengthen good reading habitsincluding sen-sory playgrounds, eye-hand toys, balanceboards, and shape mazes. Write: Edna Hansen,Director, Family Learning Center, 231 GrandviewAve., Sierra Madre, Calif. 91024.

Because of its inherent learning-by-doing ac-tivity, architecture is another art with vast poten-tial for the learning disabled. For older students,Vermont's Stowe School hired a draftswoman toteach a course in design drafting and a scienceinstructor to teac:i a course in alternative energysources. The two projects are allied so thatstudents will eventually design and build theirown energy self-sufficient school on relativelyisolated property eight miles away from thepresent site. Write: Tino O'Brien, Headmaster,Stowe School. Stowe. Vt. 05672.

Emotionally Disturbed

For therapeutic as well as learning purposes,architecture because of direct hands-on experi-ences. is also a powerful arts medium for theemotionally disturbed.

Green Chimneys, a private school for 140 de-linquent and emotionally disturbed youngsters,hired an architect willing to work with children inorder to cooperatively remodel six wardlikedormitory units. Later, the school also hired acontractor willing to teach students how to con-struct their own "environmental living units."The finished product, according to school offi-cials, is infinitely more habitable because stu-dents are directly related to the facilities, canmake repairs. and are aware of maintenancerequirements. Write: Samuel Ross, Headmaster,Green Chimneys School, Brewster, N.Y. 10509.

Despite Green Chimneys' experience, mostarts for the emotionally distu: bed take place ashighly structured activities in small groups insmall rooms. New York's Walden School, how-ever, constructed an open plan learning envi-ronment for 300 emotionally disturbed and learn-ing disabled children. The class areas surroundan arts and crafts/instructional materials centerin the middle of the school. Possibly the first timethat emotionally disturbed, neurologically im-paired, and mentally handicapped children havebeen educated in an open plan school, the ar-rangement permits spontaneous arts activities

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as well as arts as a second discipline in academicclasses. Write: Paul Irvine, Director of SpecialEducation, BOCES, 42 Triangle Center,Yorktown Heights, N.Y. 10598.

Arts therapy, as a ?eparat:3 discipline in thefield of mental healm, is probabiy the mostwidespread arts activity for the emotionally dis-turbed. Professional arts therapy usually takesplace in hospitals, clinics, and rehabilitation cen-ters. There are even organizations whose solepurpose is arts therapy, such as the Creative ArtsRehabilitation Center in New York wnere hospi-tals, clinics, and psychologists refer people forarts therapy.

,stitutionalized and Homebound PopulationsLocked away from the mainstream of life are 3.8million people confined in hospitals, nursinghomes, institutions, and their own homes. Hospi-tal Audiences, Inc., a New York based nonprofitorganization with 15 affiliate chapters in citiesacross the country, serves 250,000 in-stitutionalized people each year. It runs threeprograms which enable the institutionalized andthe elderly to participate in the arts. In oneprogram, HAI distributes complimentary ticketsto cultural, sports, and recreational events andarranges appropriate transportation. For thoseunable to attend community events, HAI's sec-ond program books benefit performances (andin some cases hires performing artists) for regu-lar productions in institutions, prisons, and nurs-ing homes. A third program, mostly in New York,provides participatory creative arts workshops inpainting, sculpture, poetry, music and crafts toinstitutional groups. Write: Michael Jon Spencer,Executive Director, Hospital Audiences, Inc.,1540 Broadway, New York, N.Y. 10036.

Another outreach program making arts acces-sible to 7,000 institutionalized children eachyear, Theatre in a Trunk, Inc. is a lively ensembleof professional actors, musicians, dancers, andeducators who create and perform unique the-ater pieces for children ages 4 to 14 in schools,community centers, hospitals, day care centers,national parks, housing projects and for privategroups. The company presents original chil-dren's plays and historical interpretations in anyspace large enough for a theater in the child'sown environment. Children s.t around three

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edges of an imaginary, therefore barrier-free,stage and the plays are designed to involve thechildren physically in the action. Write: SoniaGluckman, Director, Theatre in a Trunk, Inc., 12West 11th St., New York, N.Y. 10011.

Other outreach programs aimed at participa-tion and careers in the arts train institutionalizedand homebound people. For example, VolunteerService Photographers, Inc. (VSP) teaches pho-tography and photo oil coloring to physically andmentally handicapped, underprivileged youths.senior citizens, ex-offenders and drug rehabilita-tion participants. The program enlists trainedvolunteer instructors who take photographicequipment and materials to more than 50 hospi-tals, schools for the handicapped. drug rehabili-tation, senior citizen, and youth centers in theMetropolitan New York area. Write: Jean Lewis.Executive Director, Volunteer Service Photog-raphers, Inc., 111 West 57th St., New York, N.Y.10019.

The Wisconsin, Iowa, Missouri and Kansasstate chapters of the National Easter Seal Soci-ety operate interstate Homecraft programs thatsend art teachers into the homes of bedfastelderly, handicapped and physically ill peoplewho are not employable in the community. Pro-viding tools, materials, and teaching aids toactive clients, instructors help the homebounddevelop skills in order to manufacture clothing,toys, quilts, utensils, ceramics, and crafts prod-ucts. Each craftsman then sets a price for theproducts which are sold in retail outlets run bythe state Easter Seal chapter. Write: MarionJones, Project Coordinator, Homecraft Pro-grams, Easter Seal Society for Crippled Childrenand Adults of Wisconsin, Inc., 2702 Monroe St..Madison, Wis. 53711.

Arts for all Exceptional People

All the preceding projects focus on people with asingle disability, but to make the arts accessibleto everyone, arts programs, centers, and servicesmust serve all exceptional people. The BrooklynChildren's Museum, for example, was designedfor children with all varieties of handicaps. A200-ft ramp runs diagonally across the entiremuseum and all facilities are designed for thephysically handicapped. Emotionally disturbedand mentally retarded children develop self-

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awareness and body images with specialmechanical tools and audiovisual devices. Hand-rails throughout the main exhibition area providea tactile mapping system for both sighted as wellas blind and visually impaired children. For thedeaf, graphic manual communication symbolsare used throughout the builcfing and nine staffmembers have studied American Sign Lan-guage. Write: Lloyd Hezekiah. Director. BrooklynChildren's Museum. 145 Brooklyn Ave.. Brook-lyn. N.Y. 11213.

In Seattle. the city parks and recreation de-partment developed a system of services whichoffers over 80 art and recreation programs formore than 39.000 handicapped children andadults each year. Using facilities in dozens ofpublic centers (including a theater and arts cen-ter for handicapped movement and dance in aconvertod bathhouse. and a recreation and artscenter in a converted barn), the program canafford to be comprehensive because it coordi-nates activities with more than 25 localagenciesschools. hospitals. convalescenthomes. rehabilitation centers. universities andassociations for the handicapped. Write: PeterGuzzo. Coordinator. Programs for Special Popu-lations, Seattle Department of Parks and Recre-ation. 100 Dexter Ave.. N., Seattle. Wash. 98109.

Similarly. the ANCHOR Program (Answeringthe Needs of Children with Handicaps throughOrganized Recreation) uses classrooms, gym-nasiums. swimming pools. auditoriums, the-aters, athletic fields and art. music. shop andhome economics facilities in parks, communitycenters, commercial establishments, and publicand private schools on Long Island. N.Y. Specialarts programs include arts and crafts. music anddance. In addition. ANCHOR frequently providestransportation for the handicapped to local cul-tural events. Because handicapped adults andthe elderly are demanding similar services, townofficials are planning a year-round. barrier-freeenvironmental resource center with theater.courtyards. gardens. nature trails, arts and craftsareas and display spaces. plus recreationalfacilities for handicapped and normal people.Write: Douglas Baylis. Supervisor, ANCHORProgram, Department of Parks and Recreation,Town Hall Plaza, Hempstead. N.Y. 11550.

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Resource Organizations and Materials

Children's ArtAlliance for Arts in Education

Information source for arts organizations and agencie;technical assistance for developing arts programs for chil-dren and young adults plus access to Kennedy Centershowcase activities Write Alliance for Arts in Education,John F. Kennedy Center for the Performing Arts. Washington,D.C. 20566

American Federation of ArtsFilms on visual education for elementary and secondary

,schools Write Films. Inc 1144 Wilmette Ave.. Wilmette. III.60091

Arts in Education ProgramFinances and establishes integrated arts programs in

schools Information source on model programs and proce-dures Publications Write. Kathryn Bloom. Director. Arts inEdUcation Program John D Rockefeller III Fund. Room1034. 50 Rockefeller Plaza. New York. N.Y. 10020

Associated Councils of the ArtsInformation service on government policies and programs

affecting the arts Research. workshops. seminars, publica-tions and technical assistance Write: Cynthia Reade, Tech-nical Assistance Coordinator. ACA. 1564 Broadway, NewYork, N Y 10036

Association for Childhood Education InternationalInformation service for members on a variety of arts sub-

jects. Publications. Write. Elvie Lou Luetge. ACEI, 3615Wisconsin Ave.. N.W.. Washington. D.C. 20016

CEMREL. Inc.Information. publications, curriculum materials, mobile

children's museum. A-V materials, and technical assistanceon aesthetic education. Write: Verna Smith, Director ofPublic Information. CEMREL 3120 59th St.. St. Louis. Mo.63139

Children's Theatre AssociationInformation. technical assistance, curriculum materials,

publications. Write: Children's Theatre Association, 1029Vermont Ave.. N.W . Washington. D.C. 20005

Educational Arts AssociationPublications, newsletters. magazines, conferences, work-

shops. plays and happenings. Write: Educational Arts As-sociation. 90 Sherman St.. Cambridge, Mass. 02140

Music Educators National ConferenceInformation. publications. A-V materials, advisory services,

symposia. workshops. seminars. Write: Gene Morlan, MENC,1902 Association Dr., Reston, Va. 22091

National Art Education AssociationPublications and curriculum materials for art education

teachers. Write: NAEA. 1916 Association Dr.. Reston, Va.22091

National Dance AssociationInformation, resources. consultants. curriculum materi-

als. and publications. Write: Margie Hanson. National DanceAssociation, AAHPER. 1201 16th St.. N.W., Washington, D.C.20036

Senior Citizen ArtsNational Center for Older Americans and the Arts

Assists individuals and organizations to establish innova-

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tive arts programs for the elderly. Write: Ja,;:queline Sunder-land, Director, Center for Older Americans and the Arts. TheNational Council on the Aging. 1828 L. St.. N.W., Washington.D.C. 20036

Associated Council of the Arts1976 general conference on senior citizens and the arts.

Write: Cynthia Reade. Technical Assistance Coordinator,ACA, 1564 Broadway. New York, N.Y. 10036

Older Americans and the Arts: A Human EquationDescribes new programs, including second career oppor-

tunities. ($3.00) Center for Older Americans and the Arts, TheNational Council on the Aging, 1828 L. St.. N.W., Washington,D.C. 20036

Older Americans. Art Administrators. and Audience Partici-pation

Describes the audience potential of 20 million elderly, withrecommendations for arts administrators. ($3.00) Center forArts Adm'.nistration. 1155 Observatory Dr., University of Wis-consin. Madison, Wis. 53706

Arts and the HandicappedInformation and Research Utilization Center in Physical Edu-cation and Recreation for the Handicapped produces bib-liographies of Art Resources for Exceptional Children (seebelow).Materials on Creative Arts (Arts, Crafts, Dance, Drama andMusic) for Persons with Handicapping Conditions ($2.75)Publication Sales. American Association for Health. PhysicalEducation and Recreation. 1201 16th St., N.W., Washington,D.C. 20036

National Committee. Arts for the HandicappedAims to increase handicapped stuoents served by arts

programs by 200,000 per year for five years. Supports re-search activities and model sites which exemplify successfularts programs. Information on consultants, educationalmaterials, clinics, workshops and lists ot higher educationinstitutions with training programs. Assists the developmentof fairs, exhibitions, and conferences. Write: James Sjolund,The National Committee, Arts for the Handicapped, Room2611. ROB 3. 7th and D. Sts.. S.W.. Washington. D.C. 20202

National Endowment for the Arts. Director, Special ProjectsRepresents the interests of the handicapped in A rts pro-

grams and refers grant proposals to the appropriate pro-grams within the Endowment and in other federal agencies.Write. Program Advocate for the Handicapped, NationalEndowment for the Arts. 2401 E. St., N.W.. Washington, D.C.20506

Architectural BarriersAccent On Information

Computerized information retrieval system containing in-formation on handicrafts, recreation, transportation,facilities, laws, and legislation, private and governmentalassistance, architectural barriers, organizations. mobility.Write: Accent on Information, P.O. Box 700. Bloomington. III.61701

Alpha Phi OmegaChapters survey college campuses ana communities. As-

sist removal of architectural barriers. Aids for the handi-capped. Information on projects. Publications aid newslet-ter. Write: Keith Keller, Alpha Phi Omega, Arch.tectural Bar-riers Committee. Archbold Gymnasium, S., reci.:sri University,Syracuse, N.Y. 13210

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Architectural and Transportation Barriers Compliance BoardInformation, technical assistance, and consultant advice.

Enforces federal regulations. Write: James Jeffers. ExecutiveDirector. Architectural and Transportation Barriers Com-pliance Board. Room 1004, HEW South Building. 330 C. St.,S.W Washington, D.C. 20201

Arts and the Handicapped: An Issue of AccessContains a discussion of federal, state and local laws on

architectural barriers, relevant funding sources plus an ex-tensive list of agencies that provide information and aselected bibliography on barrier-free design.

National Center for a Barrier-Free EnvironmentInformation and technical assistance on eliminating ar-

chitectural barriers. Write: Edward Noakes. President. Na-tional Center. for a Barrier-Free Environment, 7315 Wiscon-sin Ave., N.W., Washington D.C. 20014

Office of Civil Rights for the HandicappedInformation and interpretation of federal regulations affect

ing the handicapped Write: Edward Lynch. Office of CivilRights for the Handicapped. Room 3460-N. HEW. 330 Inde-pendence Ave.. S.W.. Washington. D.C. 20201

A rchitectu ral ProgramsArchitectural Barrier Removal. National Endowment for theArts

Supports innovative programs for removing architecturalbarriers in arts facilities. Technical assistance. No capitalconstruction. Write: Susan Wagner. Architecture + Environ-mental Arts. National Endowment for the Arts. 2401 E. St.,N.W.. Washington. D.C. 20506

Artists-in-Schools ProgramSponsors artists (including architects and environmen-

talists) to work in elementary and secondary schools. Write:National Endowment for the Arts. Education. Artists-in-Schools Program, 2401 E. St.. N.W.. Washington. D.C. 20506

Beginning a Community MuseumIncludes guidance for choosing appropriate spaces, de-

sign recommendations, and specifications for facilities andhardware. ($3.00) Publications Center for Cultural Re-sources. 27 W. 53rd St.. Ne '.'ork, N.Y. 10019

Built Environment Education CenterResource center for those who want to learn about and to

help others learn about the built environment in schools.Information clearinghouse, technical assistance, conferenceparticipation. and publications. Write: Aase Eriksen. BuiltEnvironment Education Center. Educational Futures. Inc.,4508 Regent St.. Philadelphia, Pa. 19143

Interior Design,Industrial Design Action CenterInformation packages on interior and industriai design.

Write Erma Striner. !DID Action Center. Room 5338. GeneralServices Administration. Washington. D.C. 20405

Arts TherapyFor further information about the various forms of artstherapy. write to the appropriate organization.

Adventures in Movement (AIM) for the Handicapped Inc.945 DanburyDayton. Ohio 45420

American Alliance fo'r Health. Physical Education andRecreation1201-16th Street. N WWashington. D.0 20036 1 918

American Art Therapy Association3607 S. Braeswood BoulevardHouston. Tex. 77025

American Association for Music Therapy777 Education BuildingNew York UniversityNew York, N.Y. 10003

American Dance Therapy Association1000 Century PlazaSuite 2*, 6 E.Columbia, Md. 21044

American Occupational Therapy Association6000 Executive BoulevardRockville. Md. 20852

American Physical Therapy Association1156-15th Street, N.W.Washington, D.C. 20005

American Society of Group Psycho-therapy and Psychodrama39 E. 20th StreetNew York, N.Y. 10003

Council for Exceptional Children1920 Association DriveReston, Va. 22091

Music Educators National Conference1902 Association DriveReston, Va. 22091

National Art Education Association1916 Association DriveReston, Va. 22091

National Association for Music TherapyBox 610Lawrence, Kan. 66044

National Council for Therapy & Rehabilitation ThroughAgriculture, Inc.5606 Dower House RoadUpper Marlboro,. Md. 20870

National Council for Therapy & Rehabilitation ThroughHorticultureMt. Vernon, Va. 22121

National Rehabilitation Association1522 K. Street, N.W.Washington, D.C. 20005

National Therapeutic Recreation Society1601 N. Kent StreetArlington, Va. 22209

Therapeutic Recreation Information CenterUniversity of Oregon1587 Agate StreetEugene, Oreg. 97403

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The National Endowment for the Arts was established byCongress in 1965 to foster the growth and development ofthe arts in the United States to preserve and enrich thenation's cultural resources, and to provide opportunities forwider experience in all the arts.

Educational Facilities Laboratories is a nonprofit corpora-tion established in 1958 by The Ford Foundation to encour-age and guide constructive change in education and relatedfacilities.

This publication is part of the Arts and the HandicappedInformation Service, a project supported with a grant fromthe National Endowment for the Arts in Washington, D.C., afederal agency.

2 1.

Educational Facilities Laboratories850 Third Avenue, N.Y., N.Y. 10022

20

Order FormThe following arts related publications have been preparedby EFL with support from the Architecture - EnvironmentalArts Program, National Endowment for the Arts.

o Arts and the Handicapped: An Issue of Access Givesover 150 examples of how arts programs and facilitieshave been made accessible to the handicapped. fromtactile museums to halls for performing arts, and for alltypes of handicaps. Special emphasis on the laws affect-ing arts and the handicapped (19751 $4 00

o The Arts in Found Places An extensive review of whereand how the arts are finding homes in recycled buildings.and in the process often upgrade urban centers andneighborhoods. Over 200 examples, with special em-phasis on "do's and don'ts." (1976) $6.50

o Hands-On Museums: Partners in Learning Case studiesof 14 museums that cater to youth by providing programsand facilities which involve visitors as participants inlearning. Also reviews the impact of this philosophy onplanning. staffing. and constituencies. (1975) $3.00

CI New Places for the Arts Descriptions of 49 recentmuseums, performing arts facilities, and multi-use cen-ters. Includes listings of the consultants involved. (1976)$3.00

o The Place of the Arts In New Towns Reviews approachesand experiences for developing arts programs andfacilities in new towns and established communities.Gives insights and Models for the support of the arts.including the role of the arts advocate, the use of existingspace, and financing. (1973) 53.00

o Reusing Railroad Stations Reports the plight of aban-doned stations and the rich architectural and civic herit-age they represent. It advocates their reuse for combinedpublic and commercial purposes, including arts andeducational centers, transportation hubs, and focalpoints for downtown renewal. Extensively illustrated.(1974) $4.00

o Reusing Railroad Stations Book Two Furthers the advo-cacy position of the first book and describes some of thecompleted and underway conversions in more detail. Alarge section of the book explains some of the intricaciesof financing that a nonprofit group would have to under-stand before successfully developing a railroad station.(1975) $4.00

3 One Out of Ten: School Planning for the HandicappedAn EFL publication discusses new laws for the hand-icapped, and alternative methods of educating handi-capped children in public schools. (1974) 50 cents.

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IS Please Indicate which titles you would like, and sendcheck payable to Educational Facilities Laboratories, Inc.,850 Third Avenue, New York, N.Y. 10022.

Orders of 10 or more of one title receive a 25% discount.

Name

Address

City State Zip

2 3Total enclosed $