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The Medical Arts Program 2010‐2011 Annual Report 3
Executive Summary Superb patient care requires much more than simply applying practice guidelines and insights from the natural sciences to the bodies of human beings. Excellent clinical medicine also includes an appreciation of the essential elements of humanity, a generous dose of empathy, and an understanding that the medical craft can be understood and practiced only within a specific social context. One powerful way for clinicians to understand better the humanistic elements of healthcare is to consider the works of great artists in the musical, theatrical, literary, and visual arts. The arts can offer insight into the nexus between society and medicine with an intensity and fidelity that may be unavailable through other means. The Medical Arts Program intends to enhance medical students’ and house officers’ ability to provide high‐quality clinical care through experiences with and analysis of the arts. To that end, The Medical Arts Program has four Specific Aims: (1) To develop a curriculum that enhances medical students’ and house officers’ ability to provide high‐quality, humanistic clinical care through experiences and analysis of the musical, dramatic, and visual arts; (2) To evaluate the curriculum’s success in improving clinical care; (3) To achieve sustainability of the curriculum by means of continued external funding; and (4) To disseminate the results of this program. We made substantial progress in fulfilling aims 1 and 3 in the Program’s first year of existence, which culminated in the University Musical Society and The Medical Arts program being awarded a 21‐month grant from the Association of Performing Arts Presenters Creative Campus Innovations Grant Program, funded by the Doris Duke Foundation, in August 2010. With this funding, we were able to continue this progress and to widen our focus to aims 2 and 4. Eight Medical Arts events took place in the 2010‐2011 academic year, with 127 participants (including faculty learners) across all events. We assessed each event using both qualitative and quantitative metrics. In brief, learners found that the discussions enhanced their appreciation of the art and noted the close connections between the events they attended and their own work as physicians. We spent much of the year developing a mixed‐methods approach to more formally evaluate the impact of the Medical Arts Program on learners and plan to implement these evaluative tools next academic year.
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11 Annual Re
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The Medical Arts Program 2010‐2011 Annual Report 6
“It reinforced the notion that in order to be a good physician one has to be a good listener first.”
‐‐ From a learner who attended the UMMA tour
The events
Eight Medical Arts events took place in the 2010‐2011 academic year.
Table 1: Medical Arts Events 2010‐2011 Event Date Venue Speaker
Tackàcs Quartet 1 October 13, 2010 East Conference Room (Fourth Floor), Rackham Graduate School; Rackham Auditorium
Panel Discussion with Quartet
UMMA Tour/ Dinner2 November 2, 2010 University of Michigan Museum of Art (UMMA)
Ruth Slavin, UMMA Director of Education; Pam Reister, Associate Curator for Education
Stephen Nachmanovich
December 5, 2010 UMMA Stephen Nachmanovich, Violinist and Educator; U‐M Professor Gary Hammer
Sequentia with Director Benjamin Bagby3
January 26, 2011 The Blue Nile restaurant; St. Francis of Assisi Catholic Church
Benjamin Bagby, Director of the medieval music group Sequentia
Merce Cunningham Dance Company4
February 16 and 18, 2011
UMMA; Power Center Trevor Carlson, MCDC Executive Director; David Vaughn, MCDC Archivist; Christine Bratton, MCDC Physical Therapist; UM Professor Nicholas Delbanco; Joel Howell
Rae Armantrout
March 22, 2011 Vinology Rae Armantrout, Poet
Propeller Theatre Company & Richard III
March 30 and April 1, 2011
The Blue Nile; Power Center University of Warwick Professor Carol Rutter and U‐M Professor Carol Hodgdon
Detroit Institute of Arts June 5, 2011 Detroit Institute of the Arts (tour) and Pegasus Taverna in Greektown (dinner)
Pam Reister & Ruth Slavin, of UMMA; DIA Educators
Year‐end evaluative discussion with frequent attendees
May 25, 2011 The Earle Joel Howell, Victor Vaughan Professor of the History of Medicine; Sanjay Saint, Professor of Internal Medicine
1 For event program, see Appendix 1. 2 For list of works of art discussed, see Appendix 2. 3 For event program, see Appendix 3. 4 For event program, see Appendix 4.
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7
The Medical Arts Program 2010‐2011 Annual Report 8
Attendance There were a total of 127 learners across all events, with many attending more than one event. While several attendees came to these events having had previous experience as an artist, often at a relatively high level, others were relatively new to the arts. Many events were hugely oversubscribed – we tried to allow as many people as possible to participate in at least one event. The following figures provide further detail on event attendance. Figure 1: Total Attendees By Level (HO: House Officer; M4, M3, M2, M1: fourth‐, third‐, second, and first‐year medical students. “Other” includes faculty and special guests.)
Figure 2: Attendance per event
23
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The Medical Arts Program 2010‐2011 Annual Report 9
Evaluation activities Surveys: Surveys were distributed to learners following each event. Open‐ended questions asked of learners included:
What part of the event did they enjoy the most or find the most valuable?
What connections did they perceive between their experiences at the event and their work as a physician (or their medical school experiences)?
(For museum visits) Did the event make them want to spend more time at the museum?
What suggestions did they have for future events? Multiple‐choice and Likert scale questions inquired into topics including:
Whether dinner and discussion with the artists enabled learners to have a deeper understanding of the event;
Whether learners perceived relationships between the artists’ performances or careers and their own work in medicine;
To what extent learners thought the experience made them better physicians;
What program formats learners were interested in;
Whether they wanted to participate in another Medical Arts event; and
What types of content they were interested in (dance, music, theater, book discussions, visual arts, or other)
We received a total of 108 evaluations. The responses evidenced some clear thematic patterns. Below we offer some selected quotations from learners’ qualitative responses. In particular, the question “What connections did you perceive between your experience with the performance and your medical world?” elicited a number of interesting responses across multiple events. Consider these responses from learners at the Sequentia event, which relate to the important (and difficult) task of doctor‐patient communication:
“One connection may be a greater cultural appreciation of a genre of music from a group of individuals I knew next to nothing about. In my medical career, relating to people with different backgrounds will be a constant challenge.”
“I thought a bit about how present‐day notions of medical science might, after several centuries, be perceived with the same kind of benevolent condescension now afforded to ideas like… gem‐based healing.”
(Referring to the fact that the songs were in Latin) “At the concert I felt as if the audience shared a position similar to what patients must hold in the face of their physicians; the performers spoke another language, of which we had only a disembodied translation . . .”
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14
The Medical Arts Program 2010‐2011 Annual Report 15
Appendices: Event details
Appendix 1: Tackàcs Quartet Program
Schubert: Quartettsatz in c minor, D. 703
Schubert: Piano Sonata in B‐flat Major, D. 960 (Op. Poth.) (1828)
Daniel Kellogg: Soft Sleep Shall Contain You: A Meditation on Schubert's “Death and the Maiden” (2010)
Schubert: String Quartet in d minor, D. 810 (“Death and the Maiden”) (1824)
Appendix 2: Objects discussed at UMMA (Full descriptions and images available at http://bit.ly/ocr2tq)
Giulio Carpioni, "The Death of Leander," ca. 1655, oil on canvas
Charles Philips, "The Edwards Family on a Terrace," 1732, oil on canvas
Joseph Wright, "The Dead Soldier," 1789, oil on canvas
John Hoppner, "Nature, When Unadorn’d, Adorn’d The Most," 1794‐5, oil on canvas
Artist unknown, "Dysmas, The Good Thief on the Cross," ca. 1520, walnut
Juan de Valdés Leal, "The Annunciation," 1661, oil on canvas
Guglielmo della Porta, "The Deposition of Christ," ca. 1564, bronze
Defendente Ferrari, "Eve Tempted by the Serpent," 1520‐5, tempera on panel mounted on panel
Sano di Pietro, "The Nativity of the Virgin," 1448‐52, tempera and gold on wood
Théodore Géricault, "Studies of Grooms Restraining Horses," ca. 1817, graphite on off‐white wove paper
Francois Boucher, "Sleeping Infant," 1703‐1770, black and white chalk on grey paper
James Tissot, "Les... claireurs de la Seine," 1870‐1, graphite and watercolor on off‐white wove paper
Albrecht Durer, "The Four Avenging Angels from the 'Apocalypse'," 1496‐8, woodcut
Salvator Rosa, "Democritus in Meditation," ca. 17th century, etching with drypoint on laid paper
Felix Gonzalex‐Torres, "Untitled (March 5th) #2," 1991, 40‐watt light bulbs, extension cords, porcelain light sockets
The Medical Arts Program 2010‐2011 Annual Report 16
Appendix 3: Sequentia Program, “Voices from the Island Sanctuary: Ecclesiastical Singers in Paris (1180‐1230)”
Philippe le Chancelier (d. 1236): Ave gloriosa virginum regina
Paris, Notre Dame (early 13th c.): Aurelianis civitas O varium fortune lubricum Initium Sancti evangeli Curritur ad vocem nummi Anglia planctus itera Bulla fulminante
le Chancelier: Minor natu filius
Paris, St, Victor (mid‐12th c.): Zima vetus expurgetur
Appendix 4: Merce Cunningham Dance Company Program Squaregame, 1976 First Performed: Adelaide, Australia; 24 Mar 1976 Music: Takehisa Kosugi (2) Squaregame Video, videodance directed by Charles Atlas and Merce Cunningham, New York, NY; May 1976 Design: Mark Lancaster Dancers: Merce Cunningham Dance Company Split Sides, 2003 First Performed: BAM, Brooklyn, NY 14 October 2003 Music: Radiohead & Sigur Ros Décor: Catherine Yass, Robert Heishman Costumes: James Hall Lighting: James F. Ingalls Dancers: Merce Cunningham Dance Company
