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Arts and Crafts Movement 1900-1939

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Arts and Crafts Movement 1900-1939. By Chelsea, Lauren, Kirsten, and Carly. Setting the scene: 1900-1939. R apid social, economic, technological, civic, and cultural change Industrialization – rise of machines and impersonal factory work. Setting the Scene: 1900-1939. WWI (1914-1918). - PowerPoint PPT Presentation
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Arts and Crafts Movement 1900-1939 By Chelsea, Lauren, Kirsten, and Carly
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Page 1: Arts and Crafts Movement 1900-1939

Arts and Crafts Movement1900-1939By Chelsea, Lauren, Kirsten, and Carly

Page 2: Arts and Crafts Movement 1900-1939

Setting the scene: 1900-1939

Rapid social, economic, technological, civic, and cultural changeIndustrialization – rise of machines and impersonal factory work

Page 3: Arts and Crafts Movement 1900-1939

Setting the Scene: 1900-1939

WWI (1914-1918)

Page 4: Arts and Crafts Movement 1900-1939

Setting the Scene: 1900-1939

Economic instability: The Great Depression begins in 1929

Page 5: Arts and Crafts Movement 1900-1939

Scientific View vs. Holistic View

Scientific view of person and physiology of disease vs. holistic view of person (mind-body unity)e.g. X-Rays began to be used in medicine

Page 6: Arts and Crafts Movement 1900-1939

Getting back to a simpler time

John Ruskin mid-19th century British university professorBelieved that machines and factory work limited human happinessAdvocated a return to simpler times

Page 7: Arts and Crafts Movement 1900-1939

The ‘Work Cure’Dr. Herbert J. Hall, Adolf Meyer, and William Rush Dunton searched for ways to humanize the care of chronically ill patients

Promoted the “work cure” rather than the “rest cure”Championed “sheltered workshops” where people earned a living by making authentic objects. The goal was to give spiritual support and to help employ people with mental and physical disabilities.

Page 8: Arts and Crafts Movement 1900-1939

Arts-and-Crafts Societies

Arts and Crafts Movement spread from Great Britain to the U.S. with the help of furniture-maker and craftsman Gustav Stickley.

The U.S. was accepting of this movement because upper classes desired unique, authentic objects, whereas they criticized mass produced items and idleness.

Page 9: Arts and Crafts Movement 1900-1939

Arts-and-Crafts Societies

Handicraft clubs and arts and crafts societies began popping up around the U.S.

e.g. Boston Society of Arts and Crafts (1901)

Herbert James Hall “called his institution a ‘school of handicrafts,’ where patients became ‘artisans,’ tasting ‘the wholesomeness of a life of labor without the hardships and trials [of] the real industrial world” (Quiroga, 1995, p. 93).

Page 10: Arts and Crafts Movement 1900-1939

Before WWIClinics were created for patients with chronic physical illness

e.g. Consolation House

The goal of OT was to return clients to a state of financial independence

e.g. Arequipa Sanatorium – clients were encouraged to earn their keep by making pottery

OT had a vocational focus. This paved the way for programs which would treat wounded soldiers and sailors returning from WWI.

Page 11: Arts and Crafts Movement 1900-1939

During WWIOccupational Therapy was founded in 1917, the same year that WWI began.Society felt it was their social and moral responsibility to rehabilitate soldiersWWI forced field of OT to clarify its role and standardize training and practiceU.S. Army Rehabilitation program was based on the Reconstruction Model

Page 12: Arts and Crafts Movement 1900-1939

During WWIOT was a means to keep soldiers on the front.In a lecture given at a meeting of MAOT in 1921, Joel Goldwait, an orthopedic surgeon, said:“These war experiences showed us what was obvious before, that idleness is a dangerous thing. Every maimed soldier was likely to become a centre of social unrest and no nation can stand that. There were numerous cases of wounds in the hand. Three or four months were lost by these during ordinary medical treatments; with occupational therapy available, the time was brought down to as many weeks, and the men returned to the front. This is entirely possible in civil life” (Quiroga, 1995, p. 145).

Page 13: Arts and Crafts Movement 1900-1939

After WWI

There were six people in attendance at the first meeting for the National Society for the promotion of occupational therapy300 people attended the society’s third meeting in 1919This demonstrates the development of OT as a field during WWI.

Page 14: Arts and Crafts Movement 1900-1939

Women’s Changing Roles

Women gained the right to vote in 1920

Elizabeth Upham started the first OT program at Milwaukee Downer College

While women who were nurses were under the supervision of male physicians, women in the field of OT had the opportunity to be independent.

Page 15: Arts and Crafts Movement 1900-1939

Occupational Therapy Schools

Glaser argued: eye, hand, mind, and creative imagination are stimulated by arts and craftsAs a result, occupational therapy schools began to offer courses in occupations such as needlework, weaving, metalwork, bookbinding, and leatherwork. The missions and philosophies of occupational therapy and the arts-and-crafts-movement were so intertwined over time that it became hard to distinguish between the two.

Page 16: Arts and Crafts Movement 1900-1939

The Impact of the Arts-and-Crafts

MovementEconomic issues led to the demise of sheltered workshops and arts-and-crafts societiesHowever, the impact of the arts-and-crafts movement remained.Some argue that OTs’ use of arts-and-crafts has decreased in recent years.

Page 17: Arts and Crafts Movement 1900-1939

The use of arts-and-crafts in therapy can be useful:

As a means of self expressionFor increasing self-esteem and motivationTo assist learning processes

How can we incorporate arts-and-crafts into practice?

The Impact of the Arts-and-Crafts Movement

Page 18: Arts and Crafts Movement 1900-1939

ReferencesLevine, R. (1987). The influence of the arts-and-crafts movement on the professional status of occupational therapy. The American Journal of Occupational Therapy, 41, 248-254.Quiroga, V. (1995). Occupational Therapy: The First 30 Years: 1900 to 1930. Bethesda, MD: The American Occupational Therapy Association, Inc.Reed, K. (1986). Tools of practice: heritage or baggage?: 1986

Eleanor Clarke Slagle Lecture. The American Journal ofOccupational Therapy, 40, 597-605.

Thompson, M. (1998). Creative arts in occupational therapy:Ancient history or contemporary practise? OccupationalTherapy International, 5, 48-64.


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