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World Federation of Occupational Therapists Bulletin
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The sensory totes programme: sensory-friendly
autism program innovations designed to meet
COVID-19 challenges
Tina Sue Fletcher, Emily S. Wiskera, Lynda H. Wilbur & Natalie M. Garcia
To cite this article: Tina Sue Fletcher, Emily S. Wiskera, Lynda H. Wilbur & Natalie M. Garcia
(2021): The sensory totes programme: sensory-friendly autism program innovations designed
to meet COVID-19 challenges, World Federation of Occupational Therapists Bulletin, DOI:
10.1080/14473828.2021.1943868
To link to this article: https://doi.org/10.1080/14473828.2021.1943868
© 2021 The Author(s). Published by Informa
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The sensory totes programme: sensory-friendly autism program innovations
designed to meet COVID-19 challenges
Tina Sue Fletcher
a
, Emily S. Wiskera
b
, Lynda H. Wilbur
c
and Natalie M. Garcia
a
a
School of Occupational Therapy, Texas Woman’s University, Dallas, TX, USA;
b
Dallas Museum of Art, Dallas, TX, USA;
c
Nasher Sculpture
Center, Dallas, TX, USA
ABSTRACT
The Sensory Totes Programme is a series of COVID-19 adapted sensory-friendly events taking place
in a metropolitan area of the south-central United States. It offers experiences for children with
autism or sensory processing disorders who have communication, motor, sensory, or social
differences. Sensory-friendly programmes aim to facilitate skill development while mitigating
potentially negative impacts of sensory input. While occupational therapy professionals work
in tandem with event planners to design and implement programmes throughout this
metropolitan area, these events are not therapy sessions, but are instead opportunities to
participate in community life. Presently, changes have led event designers to reconsider
COVID-19 programming as a ‘new normal’that oftentimes aligns with the needs of many
children. This programme description explores how one urban locale made practical
considerations and developed solutions in response to COVID-19, and how those responses
affected best practices for sensory-friendly programming, enduring after the pandemic ends.
KEYWORDS
autism; sensory; museum;
community; occupational
therapy
Background literature
This programme description explores how arts,
entertainment, and education venues in one metro-
politan area engaged in best practices with occu-
pational therapy practitioners and students to
promote community health (Chapline & Johnson,
2016; Robinette et al., 2017; Rockefeller Foundation,
n.d.). This contributes to the development of com-
munities that are reflective, resourceful, inclusive,
and robust (Elsabbagh et al., 2014; Kinnealey et al.,
2011; Lussenhop et al., 2016). The Sensory Totes
Programme promotes social participation and
engagement in arts and other community venues
for children on the autism spectrum (ASD) or sen-
sory processing disorders (SPD). The authors
describe how COVID-19 safety protocols led occu-
pational therapy professionals and museum planners
to create consistent and visitor-centered program-
ming for visitors with ASD and SPD.
At present time, communities are facing a dual chal-
lenge of responding to public health directives that call
for self-isolation and community withdrawal to lessen
the effects of a global health pandemic at a time when
participation and engagement are known to be healthy
for both individuals and communities. In these times,
developing innovative and replicable programming
for children with the sensory, social, motor, and behav-
ioural challenges associated with ASD and SPD is
critical (Healthy People.gov, n.d.;Schicketal.,2017;
Stucky & Nobel, 2010). Sensory-friendly programming
is a response to recommendations to provide inclusive
participation opportunities from multiple researchers
and professional organisations across the globe (White-
house et al., 2018). Links between sensory processing
and community participation have been identified,
and evidence supports actions related to either treating
or working around the challenge of sensory avoidant
and seeking behaviours that interfere with daily living.
Notably, family priorities for these children include
finding opportunities for them to perform their own
activities of daily living and to engage in both play
and social experiences (Schaaf et al., 2015).Inasys-
tematic review of occupational therapy interventions
used for autism, Case-Smith and Arbesman (2008)
also found that parental involvement, social inter-
actions, and modifying the sensory environment can
have a positive impact on the participation of children
who have deficits in arousal, attention, or behaviour.
Sensory-friendly events can be supportive and enrich-
ing when designed with these factors in mind.
Collaborations optimize sensory-friendly
events
At present time, the collaboration of agencies
involved in this growing initiative includes a
© 2021 The Author(s). Published by Informa UK Limited, trading as Taylor & Francis Group
This is an Open Access article distributed under the terms of the Creative Commons Attribution-NonCommercial-NoDerivatives License (http://creativecommons.org/licenses/by-
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built upon in any way.
CONTACT Tina Sue Fletcher tfletcher1@twu.edu School of Occupational Therapy, Texas Woman’s University, 5500 Southwestern Medical Avenue,
Dallas, TX 75235, USA
WORLD FEDERATION OF OCCUPATIONAL THERAPISTS BULLETIN
https://doi.org/10.1080/14473828.2021.1943868
university school of occupational therapy, three
museums, one zoo, and one library. From these,
the authors, an occupational therapy professor, an
occupational therapy student research assistant, and
two managers of museum tour and access pro-
grammes, regularly meet to plan events and activi-
ties, now including those for COVID-19
precautions. From this, they have developed
socially-distanced asynchronous sensory-friendly
experiences with virtual supports for two of the
museums. Both museums then host representatives
from the other venues who are unable to host events
at their location. This includes the zoo, which can-
not risk exposing big cats, primates, anteaters, and
ferrets to COVID-19, a small flight museum with
financial, staffing, and space constraints, and a
library, which is determining how to manage events
in their multi-level downtown location. Conducting
week-long quarterly events that are open to agencies
who wish to become part of this group provides
each with ways to streamline and align their prac-
tices, which include evidence-based programme
planning contributions by occupational therapy pro-
fessionals and students. The overarching goal of this
collaboration is to create a programme model that
features safe community sensory-friendly experi-
ences that can be used in any place in the world.
This includes creating sensory havens or de-escala-
tion areas and gross and fine motor activity stations,
along with communication, behaviour, and social
supports such as parent tip sheets, scavenger hunts,
and games. Table 1 shows the structures of the
before-Covid and Covid-adapted events.
Sensory-friendly events before COVID-19
challenges
For any visitor, going to a museum has the potential to
be an overwhelming event. Large crowds, new sensory
experiences, and, particularly for children, expec-
tations of best behaviour can act as barriers to enjoy-
ing a day in the galleries. This can be especially true
for visitors with specific sensory needs (Fletcher
et al., 2018; Ismael et al., 2020; Kulik & Fletcher,
2016; Shepherd, 2009). However, museums are
increasingly putting forth more effort to address the
specific needs of the public, including accommo-
dations for people with disabilities. Access is not
only of interest to the public, but also to the museum,
whose concerns in serving the needs of its entire com-
munity and making its institution accessible, relevant,
and sustainable, are paramount. As outlined in The
Social Work of Museums,‘…museums are turning
their social activism inward to effect much needed
change by readdressing the exclusion and/or misre-
presentation of historically excluded groups like
people with disabilities’(Silverman, 2010, p. 10).
In continued efforts to create universal, equitable
experiences, many museums have created pro-
grammes for visitors with ASD. Since autism is a spec-
trum disorder, it appears differently in each visitor.
Because the characteristics of ASD are so expansive
individuals on the spectrum require varied and multi-
faceted supports to accommodate their diverse needs.
While the learning challenges and needs of individuals
with ASD vary widely, they also share some common-
alities, such as the atypical development of
Table 1. Pre-COVID activities and COVID-adapted activities.
Pre-Covid Covid-Adapted
Sensory accommodations Multi-person sensory de-escalation space: controlled
space with minimal sound and lighting, ice fishing
houses, tents and cardboard houses, weighted blankets,
rocking furniture, tiny flashlights, reduced overhead
lighting throughout interior event spaces
Permanent single family-sized de-escalation space with
reduced lighting, weighted blanket, soft furniture
Sensory tote: earplugs, communication cards, coloured
wristbands to signal participant’s level of desired
engagement with staffand others
Sensory de-escalation space is trimmed to objects with
surfaces that can be sanitised between users
Sensory-based and
imaginative play
activities
Kinetic textural sand, sensory bins, sound-mixing station,
puppet theatre, costume trunk
Sensory tote: sensory poem prompt, self-guides with
pretend play prompts, creative storytelling, drawing or
writing, binoculars with ‘I Spy’looking prompts
Strategy to extend
engagement
Event-based scavenger hunt Temporary multi-family
sensory de-escalation space, activities such as story
times, sequencing, scale or compare-and-contrast
prompts
Sensory tote: collection-based scavenger hunt, sand timers
Permanent single family-sized de-escalation space, Pre-
recorded storytimes and ‘art stops’with activities
Fine- and gross-motor
activities
Real-time activities indoors and outdoors facilitated by
venue or occupational therapy student helpers: arts and
crafts stations, obstacle course, outdoor kinesthetic
games
Sensory tote: self-guides with movement-based prompts, in-
gallery art-making activities
Virtual activities prompted by website
Resources for structure
and setting expectations
Pre-visit success story, timed event schedule, maps of
venue, directions for parking
Sensory tote: pre-visit success stories and maps for each
participating institution, sand timers for activities and
giving time warnings, communication cards, websites
offering additional resources
Crowding adjustments Limited attendance over one two-hour period and begin
before regular hours
Wayfinding signage –touch-friendly, quiet and
headphone zones posted
Limited attendance over a one-week period due to number
of visitors admitted per hour
Wayfinding signage –Quiet and headphone zones posted
Facilitators Large numbers of family members, education staff,
occupational therapy students, attendants
Small numbers of family members, education staff,
occupational therapy students, attendants
2T. S. FLETCHER ET AL.
communication and social skills and the need for a
comfortable learning environment.
Although medical treatments exist for certain
aspects of ASD, the most effective intervention is
often educational support that addresses communi-
cation, motor, sensory, or social challenges. It should
come as no surprise that museums –informal learning
environments that foster the development of com-
munication and social skills –are naturally suited
for autism programming. Furthermore, the collections
of art museums in particular reflect their position as
cultural entities that promote inclusion and celebrate
difference and diversity (Cowan et al., 2019; Ville-
neuve & National Art Education Association, 2007).
Conscious of the prevalence of ASD in the commu-
nity, planners representing the two participating
museums in this programme description noted that
individuals with ASD seldom participated in their
museum programmes, which is consistent with
findings of occupational therapy researchers Schaaf
et al. (2015). In a desire to welcome this group, through
partnership with occupational therapy professionals,
the museums began providing specialised ASD pro-
gramming beginning in April 2009. Through discus-
sions with the autism community, the museum
planners received feedback showing interest in pro-
grammes that provide a comfortable learning environ-
ment where young visitors with ASD and SPD could
engage with one another while informally developing
social, motor, and communication skills.
The first programme initiated by the two museums
was sensory-friendly family days. On a quarterly basis,
participating museums opened early or extended pub-
lic hours with free admission for children with ASD
and SPD and their family members. Welcoming
these children and their families to this event during
private hours has not been an attempt to segment
them from the rest of the community, but rather to
provide a time of individualised support by adapting
or removing barriers that would otherwise hinder
their museum experience. This private time provided
an opportunity for children with ASD and SPD and
their families to socialise and explore the museums
or other venues in an understanding and supportive
environment. An early open gallery time may have
helped them become more familiar and comfortable
in the museum space, and even encouraged their inte-
gration into other daily museum programming.
Knowing that visitors with ASD and SPD can be
extra sensitive to various sensory input, participating
venues offered an immersive, low-sensory space
staffed by occupational therapy students. This space
was furnished in ways that promote soothing tactile,
vestibular, proprioceptive, and visual input, typically
containing elements such as low lighting, comfortable
seating, weighted blankets, and rocking or glider
chairs.
Stories with event-specific narratives and images
were digitally posted for young visitors and their
families to review so they could become acquainted
with the museum and its scheduled activities prior
to their visit. During the event, families chose from a
variety of activities to meet their individual sensory
needs and interests. Participating families were able
to explore at their own pace, taking part in sensory
and art-making activities from partnering arts and cul-
ture institutions, playing games in sculpture gardens,
and enjoying interactive musical performances or
story times led by visiting music therapists and librar-
ians. Figure 1 shows an occupational therapy student
having fun with a child in a pre-COVID sensory-
friendly event.
Sensory-friendly innovations that meet
COVID-19 challenges
In the years before COVID-19, participating insti-
tutions organised large-scale sensory-friendly events
that were publicised through social media to parent
groups, schools, and families. As a result, hundreds
of people came in close proximity to one another
while enjoying activities at tables and in garden spaces,
participating in story times and games with other chil-
dren. Materials and tools were commonly shared.
With COVID-19 prevalence, cultural organisations
now must adhere to contact-free interactions, and
areas of frequent use also must have their surfaces
sanitised regularly to reduce the likelihood of spread-
ing illnesses (American Association of Museums,
2020). With the spontaneous and communal nature
of children, it was deemed prudent to change from
in-person visits and adopt the use of a ‘tote’or
shoulder bag-style kit to inform and inspire visitors.
The Sensory Totes Programme is a collaborative
adaptation to existing sensory-friendly family day pro-
gramming. In order to adapt to health and safety needs
in the time of COVID-19, collaborating institutions
Figure 1. Occupational therapy student having fun with a
child in a pre-COVID sensory-friendly event.
Note: Photograph courtesy of Emily Wiskera.
WORLD FEDERATION OF OCCUPATIONAL THERAPISTS BULLETIN 3
developed the Sensory Totes programme in place of
single-day large-scale face-to-face sensory-friendly
family day events. The totes have provided museums
a solution for following safety protocols while still
engaging its visitors through wayfinding tools and
self-directed learning. Museums have opened during
COVID-19 with a limited number of admissions
each hour. This safety measure enables families to
reserve a specific date and time to experience
specially-themed activities and enjoy a low-sensory
haven with the assurance that congested spaces and
ambient noises will also be lessened. Special events
such as story time or music are offered on a scheduled
basis or virtually. For some children, this opportunity
to repeat or restart activities over a period of days
greatly reduces anxiety or frustration experienced by
some visitors during the compressed-time, fast-
paced, face-to-face traditional sensory-friendly
experiences.
The Sensory Totes contain resources and activities
that relate to each collaborating institution, and are
available to reserve and pick up, free of charge, at
designated locations throughout the community. In
adherence to COVID-19 sanitisation protocols, the
tote is used and kept by the visiting child and family,
and not returned. Totes include activities and
resources for engagement at each of the participating
arts and culture venues and are designed in collabor-
ation with occupational therapy professionals, some
of whom have additional experience as special edu-
cation related-service providers, which further pro-
motes consistency and familiarity by using
formatting and language commonly seen in school
settings. These tools and activities can also satisfy visi-
tors who can be both sensory seekers and avoiders at
different times during their visit. Sensory totes contain
lanyard earplugs for on-demand noise reduction in
designated noisy areas, and maps and communication
cards with universal design icons to give important
cues for wayfinding and to provide ways to engage
in non-verbal self-expression (Carrington et al.,
2020). Toy binoculars promote slow, close-looking
activities as they focus the user’s attention. Small
sand-filled hourglasses are ideal for creating struc-
tured, timed activities. While a detailed online story
enables families to be well-prepared, a one-page ver-
sion in the Sensory Tote highlights suggestions for a
successful family visit. Additional printed parent tip
sheets in the tote can inspire fun challenges between
siblings or move an activity sequentially along in an
ordered, predictable manner. Occupational therapists
provide parent information sheets detailing everyday
activities for families to engage in that promote sen-
sory-friendly lifestyles, including healthy ways to prac-
tice sensory self-regulation, and strategies for
environmental and personal adjustments that can be
made when sensory input is not regulated or is
unpredictable. To stimulate interest in further partici-
pating in sensory-friendly events, a Sensory Tote
adventure passport is included for stamping at each
location and event. Figure 2 shows a Sensory Tote
with contents and Figure 3 shows a child participating
in a sensory-friendly event during COVID.
The Sensory Totes were designed and introduced
during the pandemic because planners wanted to
offer young visitors a multi-modal sensory-rich
museum experience. Even though health conditions
prompted this change, some benefits have been
found in adopting this present model. Offering this
paced and distanced mode of engagement has enabled
Figure 3. Child participating in a COVID sensory-friendly
event.
Note: Photograph courtesy of Emily Wiskera.
Figure 2. Sensory tote with contents displayed.
Note: Sensory tote contents include a success story, picture schedule, sand
timer, folding binoculars, red and green wrist coils, coloured pencils, com-
munication cards, and earplugs. Photograph courtesy of Lynda Wilbur.
4T. S. FLETCHER ET AL.
families some flexibility; they can come and enjoy the
museum safely and at a time that works best with their
schedules. In contrast to a one-time event, the sensory
totes can afford families multiple experiences over
time. The sensory totes have activities that are
designed to engage learners across the spectrum in
ways that are compatible with their interests and sen-
sitivities. There are individual folders for each of the
sensory consortium locations in the totes, with helpful
information and activities that pertain to their centre.
Planners anticipate these companion folders will fos-
ter future visits to other sensory-friendly venues that
will be developed.
Virtual online activities support
asynchronous museum visits
While physical exchanges outside of family units are
limited until COVID-19 vaccines are widely available,
events developed on video-conferencing platforms
have been building a virtual community. For example,
the library has consistently offered virtual story times
along a variety of themes, bookending their pro-
grammes with familiar songs and fingerplays to
begin and end their sessions. To simplify use of the
platform, session leaders inform visitors of the func-
tion of the icons and how to use these tools to navigate
the best experience for them. Art museums have
offered virtual field trips that explore artworks around
a big idea and sequentially lead young visitors through
discussion and activities at a pace and level that they
find comfortable. Families join these virtual events
from the safety of their homes. Parents and children
can observe the group and select their level of engage-
ment. Would they rather listen, type a question in the
‘chat’or verbally respond to a leader’s question? Will
they choose to share their sketch or contentedly view
their peers’ideas? If they become over-stimulated,
children can ‘mute’themselves or others and turn
offtheir video until they feel ready to resume
engagement. Figure 4 shows the homepage of Sensory
Days Dallas website designed during the times of
COVID-19.
Comparing pre-COVID and COVID-adjusted
events
When the planning team developed COVID-adjusted
events, three things have become evident. First, the
numbers of people participating in both types of
events are similar. While event attendance numbers
have historically varied depending on holidays, day
of the week they are offered, weather conditions, and
unanticipated factors, pre-COVID events served
between 50 and 500 people. Surprisingly, one of the
museums reported their second COVID-adjusted
event hosted over 225 visitors, more than double the
attendance rate of their pre-COVID events.
Second, while there is no way at present to measure
the ‘fun factor,’by informal report and the authors’
observations, COVID-adjusted events have remained
entertaining and engaging, and continue to serve as
a reservoir of seemingly endless collective creativity.
As in pre-COVID events, the children, families, and
event planners continue to enjoy the opportunity to
come together, celebrate art, explore their senses,
and have a good time during COVID-adjusted events.
Third, from the authors’perspectives, comments
from families about pre-COVID and COVID-adapted
events do not differ appreciably. People still praise the
same factors, hope for the same things, and ask for
more events. Their criticisms also remain unchanged;
they want other visitors, staffmembers, and even their
relatives to tolerate and resist judging children who
have unusual behaviours, ways of expressing them-
selves, and communicate differently from most.
It is customary for community venues to collect
feedback from visitors using questionnaires, surveys,
and even volunteers regarding perceptions about
their experiences. The planning team has honoured
these methods, and while in early stages, the author
researchers are collaborating with the museums to
learn how to collect feedback from autistic children
themselves. While the responses to questions includ-
ing, ‘What do you like about Sensory Days?’and ‘If
you could invent your own sensory-friendly event,
what would it look like?’have been sparse, it is antici-
pated that further developing methods of collecting
responses from people with autism, including chil-
dren, will enhance more programme planning
(Fletcher-Watson et al., 2019; Milton, 2019).
Regarding responses collected in pre-COVID pro-
gramme evaluations, families reflected on the value
of specialised sensory-friendly programming. Over
time, parents have described sensory-friendly events
as a source of great happiness for many families who
were struggling with everyday challenges, commented
on the power they felt when being included in the
greater community, and described the feeling of
being accepted for who they are as invaluable. A father
of a child with autism commented, ‘The events at the
DMA [Dallas Museum of Art] bring happiness to
many families struggling with everyday challenges.
The power of being included in the greater commu-
nity and accepted for you who are is priceless.’One
mother described specific activities that helped her
child stay engaged:
[My child] had such a great time exploring the activi-
ties today. I love learning from you and recreating
these activities at home. After our first sensory day
at the museum, we bought some kinetic sand. It has
been a huge help in keeping [my child] entertained
and soothed during stressful times.
WORLD FEDERATION OF OCCUPATIONAL THERAPISTS BULLETIN 5
Another parent recounted, ‘We are not afraid to be
here with our children. For once, we have our
guard down and we are not met with hate or
chaos.’
Parent and child responses to questions about
COVID-adjusted sensory-friendly events seem mark-
edly similar. When asked what they liked about
COVID-adjusted sensory-friendly events, parents
reported having less noise, fewer lines to stand in,
and an opportunity to be with similar families were
considered great benefits. One child with autism vol-
unteered; ‘Quiet not busy’was the best thing about
the event they attended. When asked, ‘If you could
invent your own sensory-friendly event, what would
it look like?’another child responded, ‘Things to
touch and places to rest.’Planners also asked parents
about ways to improve COVID-adjusted events. One
parent represented the feelings of many, saying, ‘In
general, most organizations try really hard. There are
not many things we don’t like.’Despite the COVID-
adjusted programme expansion from two hours to a
week of sensory-friendly activities, parents continue
to want more. One observed, ‘I would ask that the
time frame be wider. Sometimes we have a hard
time getting out of the house on time, based on family,
meal schedules, traffic, and other circumstances.’
Another similarity between pre-COVID and
COVID-adjusted programmes, regarding the desired
tolerance of others toward their child with autism,
was evident when one parent volunteered after a
COVID-adjusted event,
We had a great experience. But just asking the stafffor
patience and to remember that some of our kids aren’t
verbal and have comprehension issues on
Figure 4. Sensory days Dallas website homepage.
6T. S. FLETCHER ET AL.
instructions. The range on disabilities is very wide.
From very low functioning to very high functioning.
Despite this parent’s worries, one child with autism
did volunteer a single word describing the events;
‘accepting.’
Future directions
As part of a global community, we have learned to
pivot in this unprecedented time. One of the unex-
pected outcomes of the COVID-19 pandemic has
been learning new rules for engagement. Asynchro-
nous and virtual programming have extended our
reach to an audience that is beyond our geographic
circle. Developing new resources and ways to engage
with our programmes tells community members
with ASD and SPD that they are welcome in our
spaces, and that being a part of the community can
be a positive and fun experience. Large-scale synchro-
nous events will still have their place and time in our
centres, but that time is not now. We are responsible
to the public to offer safe environments for all to
enjoy. When the pandemic is over, our institutions
will not abandon the innovative, collaborative
measures we began during 2020, but rather build on
them to offer in-person and virtual experiences in
the coming years.
Our sensory-friendly community partnership
intends to expand our existing membership to appeal
to the interests of an even-greater audience. We also
intend to document, survey, and refine our model
development with plans to help other metropolitan
areas replicate it. Publishing our journey in pro-
fessional papers and presenting at regional and
national conferences will raise awareness of how a sen-
sory-friendly partnership can strengthen institutional
knowledge, preparedness and programming, while
also improving community health and well-being.
The unique role of occupational therapy
The common denominator among partners is the con-
nection with occupational therapy practitioners and
students. Occupational therapy leadership and exper-
tise in every stage of the process has alleviated concerns
expressed by museum, zoo, and library educators,
administrators and general staffmembers. Providing
onboarding and annual autism and sensory training
for employees keeps best practices fresh in people’s
minds. The knowledge that occupational therapy
school faculty and students gain through research,
observation and assessments is shared with the com-
munity partners and has been invaluable in guiding
programming decisions. Occupational therapy students
have created and facilitated activities at some centres’
large-scale events to lend helpful support. With and
without COVID-19, they will continue to be an integral
part of this sensory-friendly outreach.
Conclusions
Museums are a common ground for human diversity,
embracing difference and promoting understanding
and respect among people from different commu-
nities. As such, they hold a distinct responsibility to
the public to ensure equitable access to their collec-
tions through unique programmes and services. In
recent years, art museums have become increasingly
committed to articulating their social value as agents
of inclusion in the cultural sector. Even in the midst
of a global pandemic, museums continue to be a
locus where tailored programmes can affirm the abil-
ities of visitors with special needs and others who
are frequently underserved. These programmes,
while aimed at addressing the unique needs of visitors,
including those with autism, also benefit the museum.
As the museum becomes more accessible, relevant,
and significant to its public, its operations become
increasingly supported and sustained by the commu-
nity. The museum –an inclusive environment that
supports lifelong learning –promotes meaningful
experiences reflecting the complexity of both artworks
and its visitors, supports multiple perspectives, and
builds lasting relationships.
In some ways, the intrusion of COVID-19 into
daily life has provided a catalyst for change that should
not be ignored. Occupational therapy professionals
are uniquely suited to promote change and foster
growth. Our skills in setting measurable goals, pro-
moting client-centered programmes and treatment,
and using evidence can direct our decision-making
regarding programmes that looked ‘just right’–until
they weren’t. In the case of our sensory-friendly com-
munity partnerships, further examination has pro-
vided opportunities for setting new goals and
expanding our reach. In the case of arts-based sen-
sory-friendly event planning, we have been called to
look carefully at all aspects of programmes that may
have been languishing. Now we see opportunities to
expand our synchronous and asynchronous program-
ming, expand our capacity to interact virtually and
face to face, expand our audience reach, change the
perceptions and support of arts administrators, and
redefine our professional roles, continuing to empha-
sise both personal and community health as we learn
each other’s traditions, customs, and unique pro-
fessional languages.
Acknowledgements
The authors would like to thank Monica Hales and Cory
Briggle for their help with conceptualising the Sensory
Totes Programme and Sensory Days Dallas website.
WORLD FEDERATION OF OCCUPATIONAL THERAPISTS BULLETIN 7
CRediT author statement: Tina S. Fletcher: Conceptual-
isation, Resources, Writing Emily S. Wiskera: Conceptualis-
ation, Resources, Writing Lynda H. Wilbur:
Conceptualisation, Resources, Writing, Natalie M. Garcia:
Writing, Reviewing
Disclosure statement
No potential conflict of interest was reported by the author
(s).
Funding
This study was supported by Texas Woman’s University
Creative Arts and Humanities Grants Program Award
#3475 https://poar.twu.edu/
ORCID
Tina Sue Fletcher http://orcid.org/0000-0002-9649-4249
Emily S. Wiskera http://orcid.org/0000-0002-7345-7322
Lynda H. Wilbur http://orcid.org/0000-0002-5222-6533
Natalie M. Garcia http://orcid.org/0000-0002-3225-1002
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