Cultural arts education plays an important role in individual self-improvement and the cultural growth and maturity of society as a connecting form of education. This is because cultural arts education as a child improves a person's creativity, growth, and an ability to act as a creator and audience of cultural arts.
In a fast-paced society such as today, the amount of attention given to the elderly has increased with the want for a better life in the form of cultural arts education.
Of the many cultural arts education programs, the performing arts isn't a passive activity and helps individuals psychologically and emotionally, and helps the elderly, who are prone to shrinking, gain confidence and socialize, while helping the audience understand elderly life and allows the participants to develop friendships, cooperate, have a more optimistic view towards life, function as a member of society by participating in the play which is featured in regional events, speaking of which, the art festivals for the elderly may be diversified by this new art form which is also useful for preventing alzheimer's. Therefore, it should be expanded.
There are two ways to run a performing arts program for the elderly; 'process centered' and 'performance centered', the latter being better. It is true that it is necessary to prepare for death, but the elderly do not wish to talk about it and prefer brighter topics. Therefore, a 'process centered' program, which requires much thinking and creativity is inappropriate for the elderly who cannot move and think creatively to well, while on the other hand, a 'performance centered' program, which focuses on actually performing, is better because it gives the elderly motivation and confidence.
When running the program, it is absolutely necessary to make sure that the participants maintain good relations, grasp the needs and characteristics of an old person, and adapt a play that allows everyone to participate. This is because those who do not participate tend to fall away from the program, and it is up to the lecturer to solve this. Also, because grandmothers are far more present than grandfathers, it is important to choose a piece that reflects this difference in roles, and because most of the participants have never performed, hands-on experience is absolutely needed. Another most important thing, is that the performance must lead to a continued social participation and not end as a one-timed event. This is because this is the only way to give participants a motive to continue participating in the program and heighten pleasure and a sense of achievement. Depending on the occasion, performances may also lead to financial gains for the elderly, and efforts by the social service centers and those who work there.
When the program is over, a thorough evaluation must be made and the results must be reflected in the next program. Especially since most of the funding comes from public funds, and is easy to misuse, how the funding is spent should be thoroughly evaluated and managed.
The most important factor in performance programs for the elderly is lecturers, and experts in the field should be promoted through education. All of the programs are run by the lecturers, and the abilities and passion of the lecturer is the basis of the success and failure of the program. Also, the lecturer should have active interest and devotion towards the participants and unconsciously or consciously take the role of a healer through performance. Such experts cannot be made over a short period, and require much experience and education. This is why plans for bring such experts up should be on a long-term basis and increase the quality of these programs.