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The current issue and full text archive of this journal is available at www.emeraldinsight.com/0965-4283.htm
Received July 2004 Accepted April 2005
Gillie Bolton
English Department, Kings College London University, London, UK
Purpose Drawing on literature and the evaluation of a UK community Arts in Health project, this article aims rst to demonstrate that, in spite of the common association in mental health practice between art and the use of psychotherapeutic techniques, involvement in art creation can, in itself, have a sustained and positive impact on the mental and social wellbeing of participants and, second, to give an analysis of the different forms of arts involvement in health. Design/methodology/approach A qualitative evaluation of a successful process-based arts in health-care provision to existing vulnerable mental health community groups is discussed. Findings While the implementation of traditional forms of art therapy tends to be the preserve of those with specialist training, process-orientated art for health projects have been found to be more versatile and are developments in which many practitioners potentially play an important part. Arts in Health provision in a community setting can offer positive health benets, and aid health promotion. Practical implications More widespread, sustained funding and further evaluation and research for this accessible, cost-effective means of health promotion in a community setting are needed. Originality/value Arts in Health, in institutions (such as prison and hospital) as well as community, is a rapidly expanding, successful and attractive, yet severely under-funded provision. Descriptive in-depth evaluations and critical analyses of the eld, such as that presented here, need to be made available in order to develop the eld practically and theoretically. Keywords Mental health services, Arts, Community work (social welfare), Group work Paper type Research paper
Knowledge is limited. Imagination encircles the world (Albert Einstein, 1929).
Art the use of the imagination that magical quality which marks us out as different from all other living beings, can help achieve increases in communication, self-understanding and well-being (Calman, 2000; DLima, 2004; Haldane and Loppert, 1999; Graham Pole, 2000; Staricoff, 2004; White, 2004; NHS Estates, 2002); alleviate stress and anxiety (Bolton, 1999; Staricoff, 2004) and can have signicant therapeutic
Health Education Vol. 105 No. 5, 2005 pp. 340-354 q Emerald Group Publishing Limited 0965-4283 DOI 10.1108/09654280510617178
The authors would like to thank Rotherham Health Authority and Rotherham Metropolitan Borough Council who funded the community Arts in Health project, Ruth Fletcher-Brown (Rotherham HA Health Promotion) and Trevor Kippax (Rotherham Community Arts Unit) who were responsible for initiating and organising the project.
effects (Help the Hospices, 2005). This power of the imagination and art has been known about and harnessed for thousands of years, and due to trends towards more holistic modes of practice (Department of Health, 1999), art is used increasingly in healthcare and community settings (Haldane and Loppert, 1999; Philipp, 2002; Everitt and Hamilton, 2003; White, 2004; NHS Estates, 2002). The arts can be used as a direct agent for helping patients and practitioners to reect effectively upon experiences, express damaging memories, thoughts and emotions, and facilitate helpful feelings and states of mind, to bring about a greater state of well-being (Kirklin and Richardson, 2003; Everitt and Hamilton, 2003). Well-being rather than health as the latter is often considered to be a purely physical state like a smoothly-running car. Well-being is a state of acceptance with what is in mind, body and spirit. One can be ill, yet in a state of well-being. Staricoff (2004) has outlined evidence on the value of the arts and humanities in: . inducing positive psychological and psychological changes in clinical outcomes; . reducing drug consumption; . shortening length of stay in hospital; . increasing job satisfaction; . promoting better doctor-patient relationships; and . developing health practitioners empathy across gender and cultural diversity. The arts offered in a social community setting (Lewis, 2001) can increase community relationships, which in turn further increases well-being and potentially improves health. Visual arts skills can help mental health users towards increased personal expressiveness and agency over their lives (Malley et al., 2002). Communal activities and social capital are decreasing in our society, leading to mental ill health, and increased pressure on primary care services (Walker and Walker, 1997). This is exacerbated by community care policy, which places emphasis on individuals rather than contexts (Phillips, 2001). There is a growing recognition that community art projects can help reverse this worrying trend (White, 2004). So much so that the editor of the British Medical Journal recently recommended that 0.5 per cent of the NHS budget should be diverted to spending on the arts (Smith, 2002). Arts in health has been described as creative activities that aim to improve individual/community health and healthcare delivery using arts based approaches, and that seek to enhance the healthcare environment through provision of artworks or performances (White, 2002, p. 11). It is therefore a broad umbrella covering active participation in creative activities (such as dancing), and more passive audience or viewer activities (such as paintings hung on hospital walls). It is helpful to consider process based and product based forms of arts provision in more detail: Process-based doing it The practice of an art, such as painting (Petrone, 1999; McNiff, 1994), writing (Bolton, 1999; Killick and Allan, 2000), music (Pavlicevic, 2005; Robertson, 1996; Aldridge, 2000), dance (Cook et al., 2003), drama (Snow et al., 2003), performing arts (Sands, 2002), can be therapeutically powerful. It can enable the expression of the otherwise inexpressible, and the experience of cognitive, emotional, and spiritual areas to which people otherwise have no access (Bolton, 1999). The arts can also be soothing and
calming, and offer gentle physical activity distracting from pain and anxiety (Graham Pole, 2000). The very act of creativity also tends to increase self-condence, feelings of self-worth, motivation for life (DLima, 2004; Calman, 2000). Art can also be an unparalleled form of communication (Charon, 2000a). Art is not seen as just a route to enabling communication between practitioner and patient, but as therapeutic in itself. A reliance on word-based therapy can marginalise the therapeutic value of performing the artwork itself (Maclagan, 1989; Matarasso, 1997). Matarasso (1997) reported nearly half of participants in his survey feeling better or healthier having been involved in an arts activity. White (2004) reports a structured creative arts activity, which resulted in fewer re-admissions to psychiatric hospitals than a control group. Commonly perceived benets of arts activities are that they are non-medicalised, non-judgemental, and person-centred (White, 2004). In medicine and healthcare people become patients (Smith, 2002); in arts in health projects people become artists. Participants make their own choices, and remain in control of their activity and level of psychological and social involvement. Practice in the arts can encourage self-motivation, and self-care. They encourage community collaborative work the work is more like a conversation (Everett and Hamilton, 2003), and people only participate because they want to. Perhaps most importantly they are enjoyable and fun. Playfulness not only creates social and psychological bonds between people, it can enable healing exploration and expression of deeper levels of experience, knowledge, memories and ideas. Product-based experiencing it Concerts, literature, artworks can be experienced for healthful benet. Artistic products have helped people understand and perceive better, probably as long as people have been able to think and feel in the way we think of as human. Art products can take an audience away from painful, depressing, grieving or humdrum concerns, actions and feelings, and can enable reexive thinking about the self and personal and social situations (Kenyon, 2003; Staricoff and Loppert, 2003; Duncan, 2003). To be classed as art, a piece of music, sculpture, poetry has to be of a quality to transport the audience perhaps from a state of anxiety by encouraging deep, often critical, engagement. Music is rhythmical like the heartbeat, soothing, exhilarating, or a mode of communication (Schatzberger, 2001, Pavlicevic, 2005); ction and drama have the power of narrative, plot and characterisation enabling readers to inhabit the ctional world, to empathise with the characters, and roam in unfamiliar landscapes (Bolton, 1999; Harris, 2003; Sampson, 2004). Poetry takes readers sharply to the heart of something vital, and can therefore have great emotional or insightful impact (Bolton, 1999; Mazza, 2003; Fox, 2003). A painting can tell things about the personal or everyday world which might never otherwise be perceived, or be restful and calming (Kenyon, 2003; Padeld, 2003; Higgs, 2003). Art is also intensely educational. Literature is full of detail about the way people live in unfamiliar cultures, about suffering, healing, medical practices: every aspect of life (Charon, 2000b; Salinsky, 2002; 2004; Evans, 2003). Art and popular culture can inform about how emotions work on people, how people think and communicate, how they relate to others. Much of this learning can also be therapeutic. The line between therapy and education can narrow to non-existence.
An Arts for Health in the Community project The National Service Framework for Mental Health (Department of Health, 1999) identied a number of groups particularly vulnerable to developing mental health problems. Single parents, homeless people and those involved in substance misuse, for example, have been identied as having a greater propensity to develop mental ill health than other groups. As part of its preventative strategy, the UK government recommends that service intervention should target such groups. With this goal in mind a number of suitable groups in Rotherham, UK were approached and the project discussed with group members. From these negotiations, three groups were eventually selected as being able and willing to take part in the project. It was decided to work with existing groups for a number of reasons. For example, it improved the opportunity to provide a sustainable arts project for the participants as funding would be more easily sought through an organised group and project coordination and monitoring could be more readily facilitated. Following their selection each group was allocated an artist who visited each group for around ten weekly sessions. The three participating groups (1) A single parents support group, a long-established group that aimed to provide social contact and support to its members. It had a stable membership of around ten women all of whom took part in the art project. Their ages ranged from late 20s to late 50s and due to childcare responsibilities, the majority were not in paid employment. (2) A drop-in centre, which provided practical support and counselling to a large and transient membership who experienced a variety of problems including drug and alcohol abuse and homelessness. Of this transient membership three men and three women became regular art project participants, all were unemployed and their ages ranged from early 20s to early 60s. (3) A recently established support group targeted at teenage parents. It aimed to promote members condence and self-awareness, ultimately guiding them into work or further education. It had six regular female attendees all of whom took part in the art project. Approach to evaluation It is important to evaluate the impact of such projects if the availability and sustenance of appropriate levels of investment is to be secured (Health Development Agency, 2000). In view of this, an independent evaluator was appointed and project participants were interviewed during the rst and last art group sessions on their initial expectations and subsequent experiences of their involvement with the use of a semi-structured interview format. A reexive approach was adopted in these interviews in which emergent themes were identied and pursued. From these interviews, full transcripts, eldwork notes and case studies were produced and an ongoing analysis of qualitative material was carried out with the use of the constant comparative method (Bryman, 2001). In order to promote the validity of the data collected, a variety of methods and data sources were also used. One-to-one interviews with group members were complemented by focus groups. Interviews with participating artists and group leaders were also conducted at the beginning and the end of the project. Ethical issues of anonymity, condentiality and informed consent
were strictly adhered to throughout the eldwork with group participants being given the choice as to whether or not to take part in the project evaluation. All agreed, although some members of the drop-in centre requested that their individual interviews were not tape-recorded. There follows an account of these ndings, including the details of project participants, group decisions and goals, the art group sessions and project outcomes. Problems in evaluating the effectiveness of therapeutic interventions are widely recognised by practitioners due for example to the impact of extraneous variables upon such interventions (Huntington, 1999). As such, it was recognised that any possible benets experienced by participants may have been due to other factors such as the ` che worker throughout the duration of the project and the provision of a cre self-selection of project participants. This is especially the case for the drop-in centre members, only a minority of whom took part in the project. Moreover, few participants at the drop-in centre were willing to have their voices tape-recorded in project evaluation interviews hence the relative scarcity of comments from this group. Further distortion can arise as a result of reactivity or interviewer bias brought about by the presence of the researcher. For, according to phenomenologists, all information gained in interaction situations is highly subjective, inuenced as it is by the respective values and expectations of the participants. For example, Fennell et al. (1988) observe that people in receipt of formal provision are unlikely to express dissatisfaction with this provision due to such things as their sense of loyalty to the staff, or the fear of negative repercussions on their service input if they were to voice any criticisms. This may help to explain the relative scarcity of critical comments from the participants in this project. Greater methodological rigour could have been achieved in the project evaluation through such as the establishment of statistical data indicating the social and psychological well being of participants both before and after the project or through the use of a control group of individuals who chose not to take part in the art activity. Such measures would have provided an objective baseline from which to measure the subsequent impact of the project. They would also have facilitated a greater degree of comparison between the reactions of different participating groups and group members. However, such quantitative methods were thought to be incompatible with the small scale of the project. Thus with the exception of a form eliciting the demographic details of participants, methods used in this evaluation were solely qualitative in their orientation. Moreover, time and resource constraints combined with ethical issues meant that only those participating in the project were included in its evaluation. Findings Issues and anxieties in the lives of group members In spite of the diversity of project participants, common themes and concerns emerged. Financial issues were one such concern with the majority of group members being reliant on state benets:
You just tend to be sat in the house especially if you are a single parent, you are on income support, youve got no money to go anywhere, even say if you just want to walk round town, you cant because you are limited, you havent got the bus fare (single parent group member).
Most of them cant pay their bills. Quite a lot are ex-offenders because they have stolen to feed their habit, be it alcohol or drugs (drop-in centre leader).
Even those with jobs experienced money problems due to low rates of pay, as a child minder said:
I mean Im self-employed but Im on a very low wage and by the time Ive forked out for the things that I need and the mortgage, theres no money left . . . I need to work over 60 hours a week to break even, I work for about 75 a week (single parent group member).
Much research has highlighted the close relationship between ill health, disability and material deprivation (Palmer et al., 2002). For example, the Black Report (1990) showed that inequalities in the incidence of ill health have been widening since the 1950s and that this trend was principally related to growing material inequalities. In accordance with this, a signicant proportion of participants claimed to suffer from a disability, others experienced long-term health problems with subsequent implications for the quality of their life:
It affects the quality of my life and youve got to be a hundred percent with the children . . . I mean when youre ill and self-employed you dont get paid (single parent group member).
Mental health problems were also an issue for participants. For example, the single parents felt that they were vulnerable to such problems primarily because of the stress they experienced as a result of their childcare role, with many members claiming to have no time to themselves away from their children:
You have your children and you become an adult in an adults world and at night-time, you put your kids to bed and youre either doing housework or making a shopping list and youre just too tired to do anything (single parent group member).
More severe mental health problems were experienced by members of the drop-in centre:
Oh we have a lot of very depressed people. I mean the Samaritans come in here because we have an average of two potential suicides a week, at least (drop-in centre leader).
The presence of social support has been identied by much research as being an important aspect of social capital and a crucial factor in reducing the risk of mental ill health (Brown and Harris, 1978). However, contrary to the mutually supportive portrayals of working-class life traditionally espoused by sociologists (Young and Willmott, 1962), more recent research observes that deprived social groups are less likely to have access to informal support than the better off (Argyle, 2001). This is due for example to geographical mobility serving to undermine this support as well as growing social polarity leading to the further isolation and marginalisation of vulnerable groups (Dorling and Rees, 2003). As such, many participants claimed to lack informal support and experienced stress as a consequence of this:
I had lost both my parents in the space of three months. In the month in between my husband started divorce proceedings, he went off with another woman. It was just too much to cope with on my own because I had no other sort of family (single parent group member).
For the teenage and single parents, this lack of support was exacerbated by the fact that they lacked the practical and emotional support of a partner, while also feeling themselves to be stigmatised and ostracised by the wider community. More overt
forms of social marginality were apparent amongst members of the drop-in centre, many of whom were homeless:
Quite a lot are suffering from rejection because many have been thrown out of the family home . . . A lot of people have felt that their parents have never loved them; they have perhaps been bullied at school. Some have been sexually and physically abused in the home environment (drop-in centre leader).
An important alternative source of support can be derived from social groups in the community and their role in providing members with support and a sense of belonging, thus enabling them to cope more effectively with their personal, group or community problems (Doel and Sawdon, 1999). All participants claimed to experience such benets from their group:
This group has been very, very important to my life. Ive had quite a lot of traumas over the last few years and if it hadnt been for coming here and getting adult support, I dont think I would be here, really (single parent group member). Its friendly and very open. And another thing is that you can express your feelings and you know that it stays in this building. It doesnt go anywhere else unless you are comfortable with what you are saying. I think that we are all in the same boat as well. We all had children young so I think that is another reason (teenage parent group member).
Participant choices of arts activity An important factor in promoting the participation and empowerment of group members is to enable them to determine their own goals and actions (Mullender and Ward, 1991). As such, participating groups were not only given the choice as to whether or not they would take part in the art project but also on the type of art they would like to become involved in, with possible options including creative writing, drama, photography and painting and drawing. Following group discussions, all chose the latter option. A number of reasons were given for this. A major factor was that most people acquire experience of drawing and painting during childhood. Many participants wished to further pursue this lost aspect of their past lives:
I mean I used to like drawing when I was at school and at home I used to love drawing and then I got into like knitting and reading and I just never did it no more (single parent group member).
Furthermore, in contrast to other forms of art, painting and drawing was regarded as a versatile medium in which participants would be unlikely to have been perceived as failing:
We decided on drama but then we took into consideration Rachel and Claire because they are quiet and not the outgoing type. So we decided to do drawing and painting and writing if we could get to do all of them. If not we actually decided on painting as the main one (teenage parent group member).
Yes I asked them about creative writing rst of all. But as we have got a lot of illiterate people that had to go out of the window because it excluded quite a few. So we said, well what about art? (drop-in centre leader).
Exhibiting work produced in traditional art therapy has long been a subject of debate, with some therapists believing that such exhibition creates a misplaced assessment of the aims of the activity. However, others feel that the aesthetic and productive aspects of art and the activity of producing it are highly important within the art therapy process (Byrne, 1978). In accordance with this latter view, all three participating groups maintained that a sense of achievement and creativity with the opportunity to exhibit their work was a further factor inuencing their decision to select painting and drawing as their preferred form of art:
We think art would be best and then perhaps we can put our pictures up on the walls in the centre and say that weve done it (drop-in centre member).
This clarity of purpose helped participants to envisage the fullment of personal aims and goals (Northern and Kurtland, 2001) thus enhancing their levels of motivation in the project. As such, all groups hoped to exhibit their work in some form, with the single parents aiming to produce a calendar to which each member would contribute a piece of artwork. While the teenage parents group appeared to be quite politicised in their view of the art project, feeling that exhibiting their artwork would enable them to publicise their collective situation and express their feelings of oppression to a wider audience. For the drop-in centre members, their plans for exhibiting were less specic. This could have been attributable to its large, transient and diverse membership, which undermined the possibility of rigid goal setting (Vinter, 1967; 1974). The artists perspectives on the art sessions The three artists taking part in the project saw themselves primarily as artists, not therapists (arts in health, not arts therapy). As such verbal therapy was not practiced within the group sessions with the artwork and the process of creating it being seen as an ends in itself. For example, the artist for the teenage parents group hoped that the work would improve the members condence, help them to relax and give them a break from their children. She thus planned to introduce the group to different types of paint and methods through the use of still life, mask making, glass painting and puppetry:
Its not about nding good artists as such. I dont believe that there is such a thing as bad art. Its just a case of being creative in itself, about taking pleasure in doing it and just relaxing really (teenage parent group artist).
Similar methods and aims were expressed by the artist for the single parents group whose sessions progressed through the stages of basic drawing, basic painting, using a transfer grid and calendar painting, her aims being:
Hopefully to build their condence more than anything. To make them feel good about themselves and basically be individuals rather than mum or whatever other stereotypical label they get (single parent group artist).
In contrast, the artist for the drop-in centre followed a less prescriptive approach than the other groups. This was due to the nature of the group, with the sporadic attendance
of the drop-in centre members making the adherence to rigid structures and goals impractical (Vinter, 1967). Initial attendance was also hindered by group members suspicion of strangers, their possible unfamiliarity with modes of creative expression and what the artist felt to be the intrusiveness of centre workers who would sometimes enter art sessions and comment on participants artistic efforts:
Its all about building up a rapport and trust with them because they are very suspicious of new peoples faces (drop-in centre artist).
The approach of the drop-in centre artist was therefore aimed at building up rapport and trust, publicising the group within the centre and at promoting participants condence, decision-making and group work skills, as well as their spontaneity and creativity:
I think they will gain creativity, self-condence, self-validation and sort of decision making, very simple objectives really. But also working within a group as well (drop-in centre artist).
They were thus given total freedom as to the types of materials used and the materials were left for the participants to use at the end of the project. The success of his approach was indicated in the attendance levels, which after a slow start stabilised to around six regular participants:
As the weeks have progressed and I have become more of a familiar face and the existence of the group has become known, the numbers have picked up (drop-in centre artist).
Organisational problems encountered The major problems associated with the project were organisational. A number of delays were encountered in the process of group selection. For example, a support group for older Asian men was provisionally recruited to the project. They later decided to withdraw due to the aftermath of the terrorist attacks taking place in New York during 2001 for they felt that their main priority during this time was to support each other. Ethnic diversity was therefore not achieved, with the three participating groups having a predominantly white membership. In addition, problems in gaining access to suitable groups meant that the commencement of the art project was delayed. This meant that the sessions were interrupted by the Christmas holiday period, leading to a possible loss of momentum in the work being undertaken. While this interruption did not affect attendance for two of the groups, for the teenage parent group, art sessions prior to Christmas were poorly attended due to the fact that group members had acquired other seasonal commitments:
I think getting them altogether is not easy, especially at this time of the year with shopping and jobs they have got at home. And a lot of them help with childcare within their own families as well and there are a few seasonal jobs that have cropped up (teenage parent group leader).
One of the artists also commented on having to pay for art materials herself before claiming it back:
It would be good in the future for this sort of project to have a budget, a petty cash budget, for equipment (teenage parent group artist).
Finally, it should be recognized that a truly therapeutic experience is one that is sustained and goes beyond immediate and transient distraction (Hilgard et al., 2000). However, the achievement of this sustained impact was undermined by the short-term funding of the project, which meant that art sessions were restricted to around ten weekly sessions. As the single parent group leader said of the art project:
It just seems to have own. Thats a downside really. It hasnt been long enough (single parent group leader).
Impact of art sessions on group participants In spite of these problems, the project evaluation revealed that group members experienced the art sessions as being therapeutic. For as Dalley (1984) maintains, all stages of art activity can be seen to contribute to an overall therapeutic effect, for art activity is spontaneous, self-motivating and self-sustaining as the person becomes absorbed in what they are doing. Many participants spoke of this therapeutic experience, observing the way in which they found the art sessions relaxing and benecial to their peace of mind. This could in turn be seen to have a positive impact on their mental well-being:
I have found it relaxing because you could get rid of your pent-up emotions by actually channelling it into something (teenage parent group member).
For the teenage and single parent groups this therapeutic experience was facilitated by ` che workers during the period of the arts project: the availability of cre
` che worker is when we are actually doing something (single parent The only time we get a cre group member).
As such, due to their role in society as carers, many women are prevented from recognising their own need for support and time to themselves and are therefore denied possibilities for creative expression outside their nurturing role (Otway, 1993). As the teenage parent group artist observed:
I think that they have improved condence and that they will get an opportunity to have a bit of a break from the children, to relax and just talk among themselves. Its a very relaxed environment so they can chat and that in itself is just a bit of a release. I havent got any big ambitions that they will go into the arts themselves but I think they will believe in themselves a bit more, through doing art (teenage parent group artist).
In addition to the therapeutic benets of the art process itself, was its role in allowing participants to acquire and develop skills in art. Thus, although initial levels of artistic condence and competence varied between different groups and participants, this acquisition of skills could itself be considered therapeutic, having a positive impact on participants self-condence and esteem:
As individuals weve developed skills that we didnt know we had in the rst place (drop-in centre member).
Moreover, while the art sessions were primarily concerned not with the quality of the work but with the therapeutic value of producing it, when work becomes the focus of praise and enthusiasm, this can itself be therapeutic (Dalley, 1984). As such, the positive impact of the arts project was further facilitated by the sense of achievement
that participants experienced in having created something tangible and valued by the group. As a single parent said of her contribution to the calendar which the group had collectively produced:
I keep looking at it over there and I cant believe that Ive done it. So just signing my name on the bottom and being able to say I did that . . . I was really proud (single parent group member).
This sense of achievement was most clearly apparent amongst the single parents group whose sessions were consistently well attended throughout the duration of the project. This success may have partly been attributable to the nature of the art sessions, which were clearly structured to the nal goal of producing a calendar. It may also have been due to the tightly-knit and long-established nature of the group, members relatively high levels of artistic condence and their good relationship with the artist who was known to the group prior to the commencement of the project. In such therapeutic activities, therapist and participant variables interact with intervention methods, making it difcult to assess which are related to a successful outcome (Hilgard et al., 2000). Previous research has observed the way in which art carried out within groups rather than with individuals can be advantageous to the art activity, serving to facilitate the acquisition of artistic skills in a cost effective way (Liebmann, 1989). The ndings of this research would further suggest that the use of art with an already established group can also have a positive impact on the workings of the group itself. For example, it served to promote participants sense of belonging, group cohesion and collective esteem, characteristics which have been found to be a major curative factors in group work (Yalom, 1995; Doel and Sawdon, 1999). Moreover, in spite of the dichotomy commonly drawn between activity and verbally oriented group work (Finlay, 1999), it also served to enhance the communication between group members. For example, as the drop-in centre artist observed:
The very nature of being in a group proves they have a willingness to share and join in and I think that will be good for the individuals themselves (drop-in centre artist).
Similarly, the single parent group spoke of the way in which the art project helped to promote group cohesion, not only through their common purpose and goal of producing a calendar but also through its role in facilitating interaction between group members. This, in turn, helped to overcome the selectivity and anonymity of interaction, which can often develop in larger groups (Vinter, 1967):
When youre all sat as a group doing something, you go home warm, thinking theres people out there that care whether youre dead or alive [. . .]. Weve all done brilliant pieces of work havent we and as a group weve interacted with each other, havent we, mixing colours and all that sort of thing (single parent group member).
In spite of the limited duration of this project, its perceived benets were not simply conned to experiences within the art sessions, with many participants further continuing their artwork either within or outside the group:
Some of the members have actually purchased some paints and done their own paintings because they nd it so relaxing (single parent group leader).
Again, this process was most apparent in the single parents group, with the group artist agreeing to continue providing art sessions for the group at a reduced fee. Nevertheless, all participating group leaders were investigating ways in which art activities could be further pursued within the group after the project had nished. Conclusion The art project participants found art creation therapeutic and relaxing, while the acquisition of skills and sense of achievement served to promote feelings of condence and self-esteem. Social relationships between members of the groups were strengthened; this was valuable as these groups existed before the project, and continued afterwards: a vital community enhancement. Such group relations can be important factors in promoting mental wellbeing. A further community value is that the artists became involved with community groups with whom they might otherwise have no contact. These multiple benets to be gained from art activities suggest the need for more widespread and sustained funding for this accessible, versatile and cost-effective means of community health promotion (Staricoff, 2004). There is a pressing need for effective evaluation and research. The project reported in this paper was small and inexpensive (as most are), and only used one of the kinds of art involvement outlined at the start of this paper, and only a small range of arts practices. A practical involvement in the arts can offer a wide range of benets to vulnerable or sick people. This is true of both arts therapies and arts in health, as dened above. Arts as facilitated by artists themselves, with no overt therapeutic input, can be powerfully healing. With very little money, people and communities can be supported towards not just a greater measure of sanity, but also increased health and well-being.
Web sites National Network for the Arts in Health, www.nnah.org.uk Centre for Arts and Humanities in Healthcare and Medicine, www.dur.ac.uk/cahhm The MAP Foundation, www.mapfoundation.org Rosettalife, www.rosettalife.org Lapidus, www.lapidus.org.uk References Aldridge, D. (Ed.) (2000), Music Therapy in Dementia Care, Jessica Kingsley Publishers, London. Argyle, E. (2001), Poverty, disability and the role of older carers, Disability and Society, Vol. 16 No. 4, pp. 585-95. Bolton, G. (1999), The Therapeutic Potential of Creative Writing: Writing Myself, Jessica Kingsley Publishers, London. Brown, G. and Harris, T. (1978), Social Origins of Depression: A Study of Psychiatric Disorder in Women, Tavistock, London. Bryman, A. (2001), Social Research Methods, Oxford University Press, Oxford. Byrne, P. (1978), The meaning of art in art and psychopathology, Inscape, Vol. 3 No. 1, pp. 13-20. Calman, K. (2000), A Study of Story Telling: Humour and Learning in Medicine, The Nufeld Trust, London.
Charon, R. (2000a), Informed consent: the imperative and the therapeutic dividend of showing patients what we write about them, paper presented at the Narrative Matters: Personal Stories and the Making of Health Policy Conference, Airlie, VA, March. Charon, R. (2000b), Literature and medicine: origins and destinies, Academic Medicine, Vol. 75, pp. 23-7.
Cook, S., Ledger, K. and Scott, N. (2003), Dancing for Living: Womens Experience of 5 Rhythms Dance and the Effects on their Emotional Wellbeing, UK Advocacy Network, Shefeld. Dalley, T. (Ed.) (1984), Art as Therapy, Tavistock, London. DLima, K. (2004), A Study of the Benets and Best Methods for Integration of Creative Writing into Health Settings, University of Wales Swansea, Swansea. Department of Health (1999), National Service Framework for Mental Health, HMSO, London. Doel, M. and Sawdon, C. (1999), The Essential Groupworker, Jessica Kingsley, London. Dorling, D. and Rees, P. (2003), A nation still dividing, Environment and Planning, Vol. 35, pp. 1287-313. Duncan, J. (2003), The effect of colour and design in hydrotherapy: designing for care, in Kirklin, D. and Richardson, R. (Eds), The Healing Environment: Without and within, Royal College of Physicians, London, pp. 81-100. Einstein, A. (2002), Interview with Sylvester Viereck, Berlin, quoted by Kathleen Taylor, When fact and fantasy collide, Times Higher Educational Supplement, 20-27 December, p. viii. Evans, M. (2003), Roles for literature in medical education, Advances in Psychiatric Treatment, Vol. 9 No. 5, pp. 380-6. Everitt, A. and Hamilton, R. (2003), Arts, Health and Community: A Study of Five Arts in Community Health Projects, CAHHM, Durham, available at: www.durham.ac.uk/cahhm (accessed 8 April 2005). Fennell, G., Phillipson, C. and Evers, H. (1988), The Sociology of Old Age, Open University Press, Milton Keynes. Finlay, L. (1999), When actions speak louder: groupwork in occupational therapy, Groupwork, Vol. 11 No. 3, pp. 19-29. Fox, J. (2003), Poetry and caring: healing the within, in Kirklin, D. and Richardson, R. (Eds), The Healing Environment: Without and within, Royal College of Physicians, London. Graham Pole, J. (2000), Illness and the Art of Creative Self-expression, Harbinger Press, Oakland, CA. Haldane, D. and Loppert, S. (1999), The Arts in Health Care: Learning from Experience, Kings Fund, London. Health Development Agency (2000), Art for Health: A Review of Good Practice, HDA, London. Help the Hospices (2005), Guidelines for Arts Therapies and the Arts in Palliative Care Settings, Hospice Information, London. Higgs, R. (2003), The medical paradigm: changing landscapes, in Kirklin, D. and Richardson, R. (Eds), The Healing Environment: Without and within, Royal College of Physicians, London. Hilgard, E., Atkinson, R. and Atkinson, R. (2000), Introduction to Psychology, Harcourt Press, New York, NY. Huntington, A. (1999), Action methods and interpersonal processes in groups, Groupwork, Vol. 11 No. 2, pp. 49-66.
Kenyon, G. (2003), Take art: opening the doors of the National Gallery, in Kirklin, D. and Richardson, R. (Eds), The Healing Environment: Without and within, Royal College of Physicians, London. Killick, J. and Allan, K. (2000), Undiminished possibility: the arts in dementia care, Journal of Dementia Care, Vol. 7 No. 1, pp. 22-4. Kirklin, D. and Richardson, R. (Eds) (2003), The Healing Environment: Without and within, Royal College of Physicians, London. Lewis, C. (2001), Where the art is, Community Care, 10 May, pp. 22-3. Liebmann, M. (1989), Art Therapy for Groups, Routledge, London. Maclagan, D. (1989), The aesthetic dimension of art therapy: luxury or necessity?, Inscape, Spring, pp. 10-13. McNiff, S. (1994), Arts as Medicine: Creating a Therapy of the Imagination, Piatkus, London. Malley, S.M., Datillo, J. and Gast, D. (2002), Effects of visual arts instruction on the mental health of adults with mental retardation and mental illness, Mental Retardation, Vol. 40 No. 4, pp. 278-96. Matarasso, F. (1997), Use or Ornament? The Social Impact of Participation in the Arts, Comedia, Stroud. Mazza, N. (2003), Poetry Therapy: Theory and Practice, Brunner-Routledge, London. Mullender, A. and Ward, D. (1991), Self-Directed Groupwork, Whiting and Birch, London. NHS Estates (2002), The Art of Good Health: Using Visual Arts in Health Care, NHS Estates, London. Northern, H. and Kurtland, R. (2001), Social Work with Groups, Columbia University Press, New York, NY. Otway, O. (1993), Art therapy: creative groupwork for women, Groupwork, Vol. 6 No. 3, pp. 211-20. Padeld, D. (2003), Perceptions of Pain, Dewi Lewis Publishing, Stockport. Palmer, G., Rahman, M. and Kenway, P. (2002), Monitoring Poverty and Social Exclusion 2002, Joseph Rowntree Foundation, York. Pavlicevic, M. (Ed.) (2005), Music Therapy in Childrens Hospices: Jessies Fund in Action, Jessica Kingsley Publishers, London. Petrone, M.A. (1999), Touching the Rainbow: Pictures and Words by People Affected by Cancer, East Sussex Health Promotion Service, Eastbourne. Philipp, R. (2002), Arts, Health and Wellbeing, The Nufeld Trust, London. Phillips, J. (2001), Groupwork in Social Care, Jessica Kingsley, London. Robertson, R. (1996), Music and the Mind, Channel 4 Television, London. Salinsky, J. (2002), Medicine and Literature: The Doctors Companion to the Classics, Radcliffe Press, Abingdon. Salinsky, J. (2004), Medicine and Literature: The Doctors Companion to the Classics, 2nd ed., Radcliffe Press, Abingdon. Sampson, F. (2004), Creative Writing in Health and Social Care, Jessica Kingsley, London. Sands, J. (2002), Performing miracles? How performance arts can contribute to healing and to health-care settings, talk given at The London Forum for Arts in Health, St Thomas Hospital, London, 3 December. Schatzberger, L. (2001), Music-making in childrens hospices, Hospice Bulletin, Vol. 9 No. 1.
Smith, R. (2002), Spend (slightly) less on health and more on the arts, British Medical Journal, Vol. 325, pp. 1432-3, available at: www.bmj.com (accessed 8 April 2005). Snow, S., Damico, M. and Tanguay, D. (2003), Therapeutic theatre and wellbeing, Arts in Psychotherapy, Vol. 30 No. 2, pp. 73-82. Staricoff, R. (2004), Arts in Health: A Review of the Medical Literature, Arts Council England, London. Staricoff, R. and Loppert, S. (2003), Integrating the arts into health care: can we affect clinical outcomes?, in Kirklin, D. and Richardson, R. (Eds), The Healing Environment: Without and within, Royal College of Physicians, London. Vinter, E. (1974), Programme activities: an analysis of their effects on participant behaviour, in Glasser, P., Savri, R. and Vinter, R. (Eds), Individual Change through Small Groups, The Free Press, New York, NY. Vinter, R. (1967), Readings in Groupwork Practice, Campus Publications, Ann Arbor, MI. Walker, A. and Walker, C. (Eds) (1997), Britain Divided: The Growth of Social Exclusion in the 1980s and 1990s, CPAG, London. White, M. (2002), Determined to Dialogue: A Survey of Arts in Health in the North and Yorkshire, Centre for Arts and Humanities in Health Care and Medicine, Durham. White, M. (2004), Arts in mental health for social inclusion: towards a framework for programme evaluation, in Cowling, J. (Ed.), For Arts Sake: Society and the Arts in the 21st Century, Institute of Public Policy Research, London. Yalom, I. (1995), The Theory and Practice of Group Psychotherapy, 4th ed., Basic Books, New York, NY. Young, M. and Willmott, P. (1962), Family and Kinship in East London, Penguin, Harmondsworth. Further reading Huxley, P.J. (1997), Arts on Prescription, Stockport NHS Trust, Stockport. Payne, A. (1993), Handbook of Enquiry in the Arts Therapies: One River, Many Currents, Jessica Kingsley, London. Petrone, M.A. (2003), The Emotional Cancer Journey, MAP Foundation, London. Townsend, P., Davidson, N. and Whitehead, M. (1992), Inequalities in Health: The Black Report and The Health Divide, Penguin Books, London. Wolton, R. (2002), Our Lives, Our Group: The Thursday Club Book, Shefeld Womens Cultural Club, Shefeld.


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ETX Lawn Care
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ETX Lawn Care
ETX Lawn Care proudly serves its customers with pride, integrity and attention to the details that matter most to you. This is one of the many things that sets us apart from the rest. We are locally owned and operated. Give us a call today!
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Many local libraries have movies and television shows on DVD, and some even offer BluRay. Borrowing one is completely free as long as you are eligible for a library card, and you usually have a generous return window too. The only caveats are that your selection may be limited and other borrowers may not have been kind to the DVD when they borrowed it, so some of them may not work. But, when the cost is $0, it isn't as painful when that happens.
Consensus: Aside from the base plan, DirecTV NOW's packages have the highest prices that we've seen, and spending $60-$70 a month on TV watching just may not be a priority. However, if you've got a bit of disposable money and have a wide range of interests, DirecTV's insane channel selection is about to make you a very happy camper. (Regardless, it's cheaper than a $200/month cable bill.)
All carry national channels such as AMC, CNN, ESPN and Nickelodeon, but they also offer local channels too, including the Big Four networks (ABC, CBS, Fox and NBC) as well as My TV and The CW in many cities (Note: CBS is the parent company of CNET.) The problem is, not every city gets all four networks, especially if you live outside a major metropolitan area.
The Roku's selection of channels is as good as it gets: Netflix, Hulu, Amazon, Vudu, Crackle, HBO Go, MLB.tv, NHL, NBA, Epix, and a lot more. It would be nice to see some better support from people like NBC, ABC, CNN, and other news channels, though—right now, the channels are either audio podcasts only or clips of popular shows, but rarely full episodes. The Roku also recently got the Plex app, which allows it to play items from a Plex media server—perfect for those few movies you've ripped or downloaded. It also contains a few of Plex's streaming channels, but not all of them are available at the time of this writing. Still, Plex is a very nice touch to a device that previously couldn't play those files at all.
Local stations often have their own transmitters, which means that there's a good chance that your favorite local station is available for free over the air. Over-the-air TV may seem old-school, but there's nothing old-fashioned about the crisp HD streams that are the hallmark of modern OTA TV. The right antenna will get you HD feeds of local networks, including local affiliates of the four major networks (ABC, CBS, Fox, and NBC), plus PBS and other local stations. An antenna is all you need to watch everything from NFL football to the local news.
Sling TV offers two base channel monthly packages: Sling Orange ($25) and Sling Blue ($25). Sling Orange offers popular channels like ESPN, but is limited to a single stream — meaning subscribers can only view on one device at a time. Sling Blue offers many of the same channels as Orange along with a whole lot more, but is also missing some key channels, ESPN among them. On the flip side, Sling Blue offers NFL RedZone as part of the Sports Extra add-on package, a must-have channel for NFL fans. Viewers can sign up for both packages and get a discount, bringing the total to $40 per month.
Price: The basic plan, Live A Little, has over 60 channels for $35/month. The Just Right plan has over 80 channels for $50/month. The Go Big plan has over 100 channels for $60/month. And finally, the Gotta Have It plan has over 120 channels (what) for $70/month. Kinda pricey, but damn, having that many choices sounds nice. There's also a Spanish plan, Todo Y Mas, with over 90 channels for $45/month.
NFL Network – Though this is actually the National Football League's official cable channel, its website has a ton of post-game video footage for fans to check out. Due to licensing and TV restrictions, finding a legal way to live stream NFL football is next to impossible unless you live outside the US, but at least you can listen live to every game of the season with an NFL Field Pass.
Also forgot to mention that there is a great box out called Roku that allows you to stream in HD, and offers other stuff that is exactly like cable but theres only a one time cost of $59.99/free shipping and absolutely no monthly fees. All the movies and shows you want, you might want to check out all the features at roku.com or go to Netflix.com and check out their "watch television instantly" section. You can get more information about it there. Another great little investment to save on cable fees and you can use it on any television even the old analog television! Check it out!
This one's easy: Get FilmStruck for sure, and then consider Mubi, Fandor and SundanceNow if you never want to run out of challenging foreign films, indie films and documentaries. And while cinephiles who decry Netflix's paucity of older movies may be shocked to hear this, that service's teeming library of recent art films from around the world (in July 2018 they included "Aquarius," "Nocturama" and "Staying Vertical") is maybe its best-kept secret.
It could be true that choosing one of these options won't get you all of shows you could get with cable. However, if you truly want to get rid of cable, knowing what some of the options are can help you choose the BEST one. Then you can make the decision of whether or not it is worth it to spend the additional money to get the extra one or two channels through cable OR sacrifice one or two shows to save a BUNCH of money. It just depends your priorities.
An obvious choice, and one that is nearly essential to any cord-cutting list, Netflix's streaming service costs $8 for the basic plan (one stream at a time, no HD or UHD content), $10 for the standard plan (up to two simultaneous streams, includes HD video) and extends up to $14 per month for a premium plan that allows up to four users at once, with the added bonus of access to 4K content with HDR. Netflix's catalog offers full TV series from other networks (past seasons only), scores of movies both licensed and produced in-house, and hit original series like Stranger Things, The House on Haunted Hill, and so many more, all of which come commercial free.
1. Buy an HDTV antenna. Since 2007, local TV stations have been broadcasting digital signals so crisp that the reception is better than that of cable TV. Plus, despite all the hype about shows on niche networks, 19 of the top 20 TV shows in 2016 aired on over-the-air broadcast networks. That's why Step 1 is to buy an antenna. These are not your father's antennas. No rabbit ears necessary. A modern digital TV antenna can be so sleek it will match your decor or so skinny you can mount it out of sight. When Consumer Reports tested antennas ranging in price from $8 to $80, it found the cheapest often performed just as well as the priciest. So try an inexpensive one first and upgrade only if necessary.
Smart TVs – A smart TV is going to cost you more than a streaming device 99 times out of 100 because, well, it's a TV, too! But a smart TV with a great platform can be an awesome choice. Be a little wary of lesser-known platforms. They can be clumsy to use, and if you're not actually using your smart TV's smart-ness, that's a waste (and might lead you to buy one of the devices above in the end anyway). Another important consideration: the bigger the streaming platform, the better the app selection. You can watch Netflix on anything, but support for smaller SVOD services and skinny bundles is a bit rarer. Last but not least, it's worth noting that fans of simplicity who are planning to use an OTA antenna to watch TV without cable may find they prefer smart TVs, since the input selection will be built in and everything can be handled with one remote (by contrast, using an OTA antenna and a separate streaming device will mean using the TV remote to watch OTA TV and the streaming device remote to stream – and the TV remote again to switch between the two inputs). Examples: Sony Smart TVs (many run the Android TV platform), Roku TVs (manufactured by TCL and others), Fire TV Edition TVs (manufactured by Element).
Steven, not sure why you're so angry. If you go back through the article, in the options discussed, yes, not all of them are completely free. Some of them have up front costs or costs for equipment when you first start. After that, however, many of them are free or monthly subscription cost free (not all of them).The main one, using an antenna and watching over-the-air television, is something you can do without a recurring monthly cost. If you don't have a TV and antenna up front, yes, you'll have to pay for those. You'll also have to pay for an over-the-air DVR if you want to record programming. But after you pay for those costs there are no monthly costs. Sorry you weren't happy with the article, but there are quite a few options in the article that you can do for free. Best of luck to you, and happy new year!
The only real downside of the Roku is that it can be a little slow from time to time. The interface, while easy to use, isn't nearly as fluid as devices like the Apple TV. Plus, the remote (at least the one for the XS model) is really, truly awful. It feels more like a Wiimote than a TV remote, which is fine when you're playing games on the Roku, but it just seems big and clunky when you're using it for TV. Overall, though, the Roku is a killer device for streaming content, and its easy enough for nearly anyone to use.
We think it's worth the upgrade to the Hopper though, because along with all the other awesome Hopper features, DISH has integrated Amazon Alexa voice commands into its DVR experience. No longer must you sift through the couch-cushion chasms to find your lost remote. You can simply tell Alexa to turn on This Is Us and cry your eyes out with the rest of us.
And even though the monthly price generally starts off higher than satellite, you won't see the same kind of second-year price hikes with cable. This makes it easier to budget for up front since you won't be falling for sweet promotional deals that come back to haunt your bank account in 12 months. Also, because cable doesn't require contracts, you have a lot more flexibility than satellite. Unfortunately, if you live in a rural area, you may not have cable as an option.
Ultimately, your final decision will completely depend on your needs, what services you subscribe to, and how much of a hassle you're willing to deal with. I'm still married to my home-built XBMC box, but I'd have to say the Roku was easily my favorite of the pre-built options. It's insanely cheap, has tons of streaming services, and with the addition of Plex, can even do some basic playing of network files. The Boxee Box was also pretty nice if you're willing to sit and configure it, while the Apple TV and WD TV Live provided great plug-and-play solutions. The Google TV is a bit more of a wild card for those that have specific needs, but provides a lot of configurability and niche apps that the others don't have (or, alternatively, makes a great feature-filled Plex box). Check out the home pages for each device to see more about what they offer and where you can buy your own.
No, really. For the cool price of zero dollars a month, Pluto TV will provide you access to select content from more than 40 live channels, including CNBC, MSNBC, Sky News, movie channels, and live sports, plus 15 music-streaming channels. Newest additions include Pluto TV Sitcoms, offering a selection of aging comedies like 3rd Rock from the Sun and The Lucy Show, and Spanish language channel Pluto TV Cine. Users will also enjoy a library of on-demand content.
I'll keep my eyes peeled on you guys and your progress, and try to follow your lead! By the way you have all been most informative,and Peter, thanks for starting the subject you truly have helped my frame of mind. I know I threw in a bit of southern humor to keep you all entertained but buy God I am going to overcome this so-called generational gap and get in there with you all. I won't be a tech. but perhaps I'll learn how to better utilize my equipment…
Not everyone is cut out to be a "cord cutter," though. Ditching cable or satellite and the bills they carry sounds great in theory, but it's not something you want to rush into without doing your research. As with most things, there's a right way to go about cord cutting, and then there's the way that sends you back to your cable company begging for forgiveness. We tend to prefer the right way. Keep reading to find the best methods for dropping cable in favor of streaming.
You don't need to put together an extremely detailed accounting of this right from the get-go, but it's helpful to keep what you want in mind as we examine the services and devices that promise to deliver it. All of the cord cutting world's services and devices are setting out to solve certain problems and deliver on certain promises. You should have at least a vague idea of whether you care about the problems they address or should be excited by the promises they make!
Sometimes called "TV Everywhere" apps, these are the apps for individual networks or cable channels that provide video-on-demand of their current shows (usually a day or two after they air). All of them have wildly different interfaces. Almost all of them require you to sign in using existing credentials for a cable or satellite TV subscription. And even then, almost all force you to watch commercials while viewing shows, with no way to skip them.
A lot of people pay a lot of money in order to be able to watch the TV shows that they want, when they want. In the process they end up spending upwards of $500-1000 a year, mostly for programming that they don't watch. If they would just look a little deeper they might find that there are a lot of free or low cost options out there, and they can get a lot of the same TV shows, movies and other video content for free.
The good news is that nearly all of these services offer the ESPN family of networks as standard, at the lowest tier. Many then offer regional Fox Sports channels, and even an array of overseas sports broadcasts. Soccer fanatics should also look into FuboTV, which emphasizes the major sports leagues in general but is particularly generous with international football. Again, be sure to check with the various live TV providers to see what you're allowed to see in your region and for what price. (If you can afford it, consider Playstation Vue, which offers easy access to the many games streaming every day on ESPN's website.) ESPN also now offers ESPN+, which features a selection of live games from professional and college sports, along with access to the network's documentary films and some studio content exclusive to the subscription service.
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Cord cutting isn't just a millennial fad. Ditching cable allows you to save hundreds per year without being completely clueless about what's on TV. Nothing will you decide which service is best for you better than physically trying it for yourself. Each of the eight streaming services we've picked all offer free trials, so there's no reason to not take advantage of them — and all together, that's like two months of free TV.
3. Try an HDMI cord. The cheapest way to watch Internet shows on your TV is by connecting a laptop to your television set with an HDMI cord. Cost: as little as $3.50. It may sound complex, but it's just like connecting an external monitor to your computer. You can then watch individual shows — and often entire seasons — that the television networks have posted on their websites. Channels such as CNN even offer live video feeds updated every few minutes.
With Sling, there's no more waiting on a show to air—you can watch it live like with cable or satellite, except you're watching over the internet! The basic package includes 30 live channels like AMC, CNN, ESPN, ESPN2, HGTV, and Disney Channel. You can get a slightly different lineup of networks for $25, or get both for $40. There are also $5–10 add-on packages for sports fans, movie buffs and your little ones. So if ESPN is the only reason you're clinging to your cable box, you may be out of excuses now!
PlayStation Vue is the slickest of all the major streaming TV providers, with a pleasant, evolved interface that is also easy to use. Its DVR is excellent, with unlimited storage and the ability to skip commercials on any show -- although unlike YouTube TV, shows in Vue's DVR are deleted after 28 days. The biggest knock is that it's one of the most expensive basic packages (Hulu is now also $45), but it has fewer channels than any of the Big Five aside from Sling TV, and local channel coverage is less comprehensive, too. You don't need a PlayStation 4 to watch it -- just like the others, Vue has apps for numerous streaming devices including Roku, Apple TV and Fire TV as well as phones and PCs -- but a PS4 is the only way to get its sweet multiscreen view.
The first step to cutting the cord and getting free cable tv legally is to start using a HDTV antenna as you can potentially get every channel you currently watch for free over the air or with an on-demand streaming device from Roku. If that still isn't enough, you can supplement with a contract-free online streaming plan that offers on-demand or live TV for a fraction of the cost you're currently paying.
Pros: The most consumer-friendly terms (up to six screens, no DVR storage limits), best program guide navigation, easiest one-click for adding shows to DVR record list. Terrific app that makes it easy to watch the TV shows from bedroom, living room, office, park – anywhere. Plus, if YouTube TV doesn't have your show, the main YouTube website probably does have some variation of it. There's enough to keep you busy for days. The No. 1 choice for cord cutters – unless you live in an Amazon world. In which case,, buy a Roku streaming stick and get YouTube that way. It's that good.
We just started using PlayStation Vue. So far we really like it. I looked into Sling TV when we were getting ready to cut the cord, but then I came across PlayStation Vue and it had more channels and more of the channels we as a family wanted. My husband gets a ton of his sports channels, including the Golf channel and we still get Disney Jr. for our son. We also have Netflix and a HD antenna for local channels. PlayStation Vue was only $5 more a month so it was worth it for us. We access it through the Amazon Fire stick.
General idea: If award-winning originals like The Handmaid's Tale and all seasons of Rick and Morty don't already do it for you with Hulu, knowing that there's a super simple one-package live TV option with Hulu might do the trick. Plus, if you already have the non-live Hulu account, merging the two and not having to sign up elsewhere makes the process way less stressful. Hulu only has one on-demand package, which makes things simple if you didn't want to have to make a decision between packages. It'll give you over 40 channels including local broadcast channels, CNN, Disney, FX, Oxygen, ESPN, and more. One slight drawback is that Hulu does not do Viacom, meaning channels like Nickelodeon, Spike, Comedy Central, or MTV, are not available.
Not everyone is cut out to be a "cord cutter," though. Ditching cable or satellite and the bills they carry sounds great in theory, but it's not something you want to rush into without doing your research. As with most things, there's a right way to go about cord cutting, and then there's the way that sends you back to your cable company begging for forgiveness. We tend to prefer the right way. Keep reading to find the best methods for dropping cable in favor of streaming.
Hi, We have been considering giving up our Directv for sometime, Running across this forum has made the decision for us. I see that a Chromecast would be needed per TV that you want to use. My question is, Does a laptop or computer HAVE to be used to do any of this? We have a PS3, So would I be able to use the PS3 for Hulu, Netflix, Playon, and whatever other channels we find? And the other question is, On any of these options, can you watch the show/movie live or do you have to wait a week or so after it airs? We are more worried about our shows like Outlander, Game of Thrones, Big Bang theory, Homeland, etc??
And even though the monthly price generally starts off higher than satellite, you won't see the same kind of second-year price hikes with cable. This makes it easier to budget for up front since you won't be falling for sweet promotional deals that come back to haunt your bank account in 12 months. Also, because cable doesn't require contracts, you have a lot more flexibility than satellite. Unfortunately, if you live in a rural area, you may not have cable as an option.
This year alone, some 6 million people are expected to ditch satellite and cable, causing a major pain point for the providers of digital entertainment. Welcome many of the same companies (DirecTV and Dish Network), along with YouTube, Hulu and Sony, in a different sort of offer. A smaller collection of channels, along with broadcast TV locals, no equipment required, and an average price of around $40 monthly. (Along with your internet subscription.)
Did you know Hulu streams Live TV? Hulu's Live service currently stream live ABC, NBC, FOX, CBS, and The CW in several markets. Use this handy zip code tool to see which local channels are available in your area. It will also tell you which cable channels are available! You can get live FOX, CBS, ABC, and NBC in most areas in the U.S. These are the same local affiliate networks you see over the air and on cable.
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With the exception of Sling, all five services continue to add local channels in an attempt to sign up viewers. Because most local stations, aka network affiliates, are owned by companies other than one of the big four networks in question, they usually require separate contracts with providers like streaming services, cable systems and satellite networks.
PlayOn – If you've got an Xbox 360 or Playstation 3, this software download lets you wirelessly stream internet video content from Hulu, Netflix, and more right to your game box. It'll also pick up content from ESPN.com and CBS.com, or grab a free plugin to stream programming from The Weather Channel, Adult Swim, The Food Network, and more. PlayOn has a 14-day free trial, then you'll have to pop for $40 to keep it.
I just received my satellite bill after my 2 year contract was up and it went from $70 to 130 and I only have the basic package. I can't justify the cost. I have Netflix and Hulu that we watch through our DVD player. I work a crazy 12 night shift and I rely on my DVR for the shows I miss. My question is regarding my options for recording shows because Hulu is the closest option for the shows I watch but it doesn't always have the current shows. I'm thinking about trying sling but not sure if I can still use my DVD player or will have to get a Roku device.
Another way catch to prime-time network television is the combination of Hulu On-Demand and CBS All Access. This combination will provide several hit prime-time shows on CBS, ABC, NBC, FOX, and The CW. You can try a one-week free trial from Hulu to see if you like the service. If you're looking for PBS shows, they can be accessed through the PBS app. It is available on almost any device.
General idea: Crunchyroll is Netflix for anime. And it's seriously awesome. With a premium account, you'll get access to over 900 anime shows (for reference, Netflix only has 50 titles). Find old favorites like One Piece, new releases straight from Japan like Megalobox, as well as a wide selection of manga and even a number of live-action J-dramas. If you're an anime newbie, check out Mashable's full rundown on Crunchyroll and our resident anime expert's suggestions on the best shows to watch.
You can use Playon with the Wii. You would just need to have the Internet Channel activated, and then browse to http://wii.playon.tv. Of course you would have to have it installed on your computer as well to be able to view streaming media on your TV via the Wii.you could do it from one computer, and stream to multiple TVs, as long as they each have their own connected device (Wii, Xbox, etc).
That six-or-nine bucks a month gets you access to some of the most popular shows on TV the day after airing, including The Big Bang Theory, Mom, Elementary, Survivor, Amazing Race, even daytime shows. There are also a few thousand old TV shows streaming here, such as Cheers, all the versions of Star Trek (the rights are owned by the CBS Corporation), Brady Bunch, The Twilight Zone, and Hawaii Five-0. You can insert your own joke here about how the Tiffany Network is for your grandparents, because I already made mine above.
I have a Samsung S8 plus. Adaptor failed to work initially. I had to set the USB mode to PTP and it worked perfectly. To set the USB mode go to ---> Settings/Developer Options/USB Configuration. If Developer Options isn't in your settings, then go to the About Phone menu in Settings, then find the "Build number" entry and tap on it seven times. Once you've done that, you'll see a message that says "Developer mode has been turned on."
Here's a good place to experiment. Don't look for a live TV option with Nickelodeon or Disney; instead, make use of the PBS app and YouTube's kid-friendly channels, which are free. Get a subscription to Boomerang for some classic cartoons, and supplement that with some combination of Netflix, Hulu and Amazon, all of which have some excellent children's shows.
Sometimes those contracts don't work out. A major case in point came in May, when Sinclair Broadcasting Group, a major owner of local stations nationwide, pulled its stations from Sony's PlayStation Vue service. Vue lost a good chunk of channels, moving from second-most in August of 2017 to second-to-last now, beating only Sling. Even Fubo TV has more local channels than Vue.
Sling TV organizes its content a little differently from most competitors: instead of a few different tiers, Sling TV starts you off with one of two base packages (you can also get both) and then invites you to build a custom package through its "add-ons." The "Sling Blue" base package ($25 per month) will get eligible markets live streams from Fox and NBC. The Broadcast Extra add-on to Sling Blue will give subscribers in some markets access to ABC, Univision, and Unimas local broadcasts. Local and regional sports stations are available in various base and add-on packages, too – check out the link below to track down the ones you're most interested in.
Unfortunately, its similarities to Android do it more harm than good. Some apps are clearly ports of tablet apps that don't work very well with a remote, and you'll need to control them with the clunky trackpad or control stick on your remote. Sometimes you'll only need to do this for certain actions, like seeing a movie's info, but in some cases—like with Amazon's absolutely horrendous streaming "app" (which is really just a shortcut to the Amazon Prime web site)—you'll need to use the mouse for everything, which is really not an enjoyable experience. It also has the quirks we've come to know on Android phones, like the occasional force quit or popup confirming a security certificate (which isn't a huge pain, but something regular users will find confusing). All in all, it feels like you're using a computer from your couch, not a set-top box.
Before you've canceled your cable or satellite subscription, you'll investigate what's available to you via an HD antenna. For people in urban areas, a good HD antenna likely offers all four major networks (FOX, ABC, NBC, and CBS), along with as many as 10-15 other selections (PBS, CW, etc.) in HD resolution, all for free. To make sure you'll get decent reception, you can simply buy one and try it out, ask around the neighborhood, or try this antenna analysis tool which will tell you which channels you can expect to receive in your area.
In the second quarter of 2018, Netflix released around 452 hours of U.S. original programming, up 51% year-over-year but actually slightly under the company's record output of 483 hours in Q1 2018. In Q2, Netflix's originals slate included "Thirteen Reasons Why" season 2, "Luke Cage" season 2, and "Unbreakable Kimmy Schmidt" season 4, in addition to the reboot of "Lost in Space" and second seasons of drug war docu-series "Dope" and Brazilian dystopian series "3%."
While I've listed a few major streaming apps supported by each device, there are other apps available for these devices like Crackle TV, M-Go, Crunchy Roll, etc. I could write for weeks on every available app on these devices. While I personally feel Roku is the best streaming device available today, here is a look at the top options on the market.
Just because you subscribe to cable or satellite doesn't mean you have to use the provided set-top box. In an effort to become part of the cord-cutting landscape, many of the major cable and satellite providers, who double as internet service providers, let users subscribe and then access all programing via apps rather than the cable box or even the tuner in the TV.
Roku is a great option these days. I bought one and hooked it up to the TV in my bedroom and it works fantastic. You need internet to run it, but atleast it cuts the cable bill out of the picture, and regardless, nowadays internet is practically a necessity. Theres different Roku "channels". i mostly use netflix and hulu, but cracke for example is 1005 free with no account needed.
The other caveat is that the majority of these channels aren't actually TV channels but internet channels, meaning stuff from websites and online creators like IGN, CNET, and Cheddar, rather than traditional TV channels. You'll still get those, too, but you won't find any of the major prime-time networks or cable favorites like Comedy Central, Syfy, or FX here.
Basically, when you go to your xbox and select to view video, you can view video from the xbox's hard drive (stuff you download from xbox live), or from one of the connected media servers. Playon would be one of the connected media servers (in addition to the built in media server in windows vista -which only has limited streaming capabilities). Does that make sense or did I just muddy the water even more?
I need to be able to watch POWER on STARZ….LBVS I pay $255.00 to ATT a bundle deal, too much, for a land line I don't use, cable channels I don't watch and the internet. I need the internet to connect to other options…right??? They don't seem to appreciate your membership. They don't offer suggestions, advice and/or options. You tell what your need, they let you do all the talking. It's like they are not interesting in keeping you as a valued customer. IJS
Today you've got plenty of options. Six major services -- DirecTV Now, Fubo TV, Hulu with Live TV, PlayStation Vue, Sling TV and YouTube TV -- stream multiple channels of live TV over the Internet, including local channels. Each has its plusses and minuses, including pricing (starting at $25 per month), features (like cloud DVRs) and user interface, but the biggest differentiator is channel lineup.


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Community Bank
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Students, staff, and off-campus community: are you looking to become more active, try a new sport, form new friendships, or live a healthier lifestyle this spring? If so, WE WANT YOU!
Panther Rec offers a variety of sports, as well as numerous open field times throughout the week for you to participate in. Every sport is co-ed and people of all levels are welcome!
What are intramural sports?
Intramural Sports are sports that are run by Panther Recreation for students, staff, and the off-campus community. Intramurals are an opportunity to play sports with friends -- old and new-- in an environment that celebrates teamwork, mutual respect, and of course, fun!
What is the program's vision?
Our vision is that the Panther Rec Intramural program is welcoming, encouraging, rewarding, and FUN! We want to meet the interests and abilities of each person on campus, while supporting wellness, growth, and enjoyment for each member.
Who can register, and how?
All UPEI students and staff, and anybody from the community aged 18+. Registration forms are available at the Panther Central Desk, as well as on our website. Forms must be filled in and taken to the first night for each sport, or dropped off at Panther Central Desk any time prior to the first session.
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We have some of the best athletic and sport facilities in Atlantic Canada. Help us to keep facilities clean, damage free, and operational for our users. How?
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