Expressive arts for social work and social change 1st edition tuula heinonen - Download the ebook to by Education Libraries

https://ebookmass.com/product/expressive-arts-for-social-

Instant digital products (PDF, ePub, MOBI) ready for you

Download now and discover formats that fit your needs...

Creating Social Change Through Creativity: Anti-Oppressive Arts-Based Research Methodologies 1st Edition Moshoula Capous-Desyllas

https://ebookmass.com/product/creating-social-change-throughcreativity-anti-oppressive-arts-based-research-methodologies-1stedition-moshoula-capous-desyllas/ ebookmass.com

(eTextbook PDF) for Education and Social Change 5th Edition

https://ebookmass.com/product/etextbook-pdf-for-education-and-socialchange-5th-edition/

ebookmass.com

The Practicum Companion for Social Work: Integrating Class and Field Work

https://ebookmass.com/product/the-practicum-companion-for-social-workintegrating-class-and-field-work/

ebookmass.com

Illustrated Textbook of Paediatrics 5th Edition Tom Lissauer

https://ebookmass.com/product/illustrated-textbook-of-paediatrics-5thedition-tom-lissauer-2/

ebookmass.com

How to Manage: The Definitive Guide to Effective Management, 6th Edition Jo Owen

https://ebookmass.com/product/how-to-manage-the-definitive-guide-toeffective-management-6th-edition-jo-owen/

ebookmass.com

Foundations of Low Vision: Clinical and Functional Perspectives 2nd Edition

https://ebookmass.com/product/foundations-of-low-vision-clinical-andfunctional-perspectives-2nd-edition/

ebookmass.com

The US Navy and the National Security Establishment: A Critical Assessment John T. Hanley

https://ebookmass.com/product/the-us-navy-and-the-national-securityestablishment-a-critical-assessment-john-t-hanley/

ebookmass.com

Futures of Anti-Racism: Paradoxes of Deracialization in Brazil, South Africa, Sweden, and the UK Nikolay Zakharov

https://ebookmass.com/product/futures-of-anti-racism-paradoxes-ofderacialization-in-brazil-south-africa-sweden-and-the-uk-nikolayzakharov/

ebookmass.com

Before We Say Goodbye Toshikazu Kawaguchi

https://ebookmass.com/product/before-we-say-goodbye-toshikazukawaguchi/

ebookmass.com

https://ebookmass.com/product/as-regras-de-ouro-napoleon-hill/

ebookmass.com

UULAHEINONEN,DEANAHALONEN,ANDELIZABETHKRAHN

OxfordUniverstyPressisadeparmentofheUniversityofOxfordIfurtherstheUniversty’sobjectiveofexcelenceinresearchscholarshipandeducaionbypublishingworldwideOxfordisaregsteredrademarkofOxfordUniverstyPressintheUKandcerainothercountries PubishedintheUntedSatesofAmericabyOxfordUniversiyPress 198MadisonAvenueNewYorkNY10016UniedStatesofAmerica ©OxfordUniversiyPress2018

AlrghtsreservedNoparofthispublcatonmaybereproducedstoredinarerievasysemorransmitedinanyformorbyanymeanswihouthepriorpermissionnwritingofOxfordUnversityPressorasexpresslypermitedbylawbyicenseorunderermsagreedwiththeappropriaereproduction rightsorganzaionInquriesconcerningreproductonoutsidethescopeoftheaboveshouldbesenttoheRghtsDepartmentOxfordUnverstyPressatheaddressabove Youmustnocrculaehisworkinanyotherformandyoumusimposethissameconditiononanyacquirer

LibraryofCongressCaaloging-in-PublicatonData

Names:HenonenTuula1952–author HalonenDeanaauthor KrahnElizabethauthor TileExpressiveartsforsocalworkandsocialchange/ TuulaHeinonenDeanaHalonenandElzabehKrahn DescriptionNewYorkNY:OxfordUniversiyPress[2019] Includesbibliographcareferencesandindex

Identfiers:LCCN2018015256(prnt) LCCN2018016002(ebook) ISBN9780190912413(updf) ISBN9780190912420(epub) ISBN9780190912406(pbk:akpaper)

Subects:LCSHSociaservice Practice Arts Therapeuicuse

Classification:LCCHV105(ebook) LCCHV105H3952019(print) DDC3613/2 dc23 LCrecordavailableathttps:/lccnlocgov/2018015256

Preface

Acknowledgments AbouttheAuthors AbouttheContributors NotesonSources

1 WhyExpressiveArtsforSocialWorkandSocialChange? TuulaHeinonen,DeanaHalonen,andElizabethKrahn

2 ASocialWorkOrientationforTransformationUsingExpressiveArts TuulaHeinonen,DeanaHalonen,andElizabethKrahn

3 VisualArts:DrawingPaintingandCollage TuulaHeinonen

4 PhotographyandVideoMethods TraceyLavoieandTuulaHeinonen

5 MovementandDance SarahRocheandTuulaHeinonen

6 Storytelling,Poetry,Writing,andtheArtofMetaphor ElizabethKrahn

7 SingingDrummingandSongStories:SeekingMino-PimatisiwinThroughMusic MargaretTamaraDicksandDeanaHalonen

8 TheaterDramaandPerformance DeanaHalonen

9 ExpressiveArtsforTransformationandChange TuulaHeinonenDeanaHalonenandElizabethKrahn

Index

PREFACE

Thisbookarosefromourvariousarts-basedteaching,inquiry,writing,andcreativeexperiencesoveradecadeormore Aftermanyyearsofdiscussionaboutourideasonsocialworkandtheartsandinourrespectiveprojects,we thoughtitwastimetowriteabookaboutsuchmethods Therewerefewbooksavailableonintegrationoftheartsinsocialworkatthetime Wewantedprimarilytowriteabouttheartsascomplementarymethodsinsocialwork practicebutalsoincludecontentontheartsininquiryandinsocialworkeducation

ThisbookdrawsnotonlyfromexpressiveartsmethodsthathavebeenmoreoftenusedinpracticeandinquirybutalsofromothersthatarenewerorlessdevelopedinsocialworkAtthetimeofwritingwewereunabletofindother booksthatcombinesocialworkwithcreative,arts-basedmethodsforpractice,althoughsomethatdescribeexpressiveartstherapiesasgrouporindividualtherapyapproaches(visualart,movementanddance,music,andothers)are available Thesearewrittenfromtheperspectiveofprofessionalsregisteredand/orlicencedinthesefields Incontrast,thisbookbeginsfromasocialworkorientationandaddstoitexpressivearts–basedmethodsascomplementary resourcesforsocialworkerswhohavebeenpreparedthroughtraining experience and/orstudywhileadheringtosocialworkcodesofethicsandprinciplesforpractice Somesocialworkershavechosentocompleteprogramsof studyinexpressivearts–basedfieldssuchasarttherapy,musictherapy,movementanddancetherapy,orothers,towidentheirscopeofpractice

AspractitionersresearchersandscholarsourselveswewrotethisbookbecausethereisanincreasedinterestinapplyingcreativeartsmethodsinsocialworkWethinkthatthereisneedforabookthatconnectssocialworkwitha rangeofexpressivearts–basedmethodsandusesindifferentpracticesettingsandclientpopulations Respondingtopeoplesneedsoftenrequiresmorethanverbalcommunication,andcreativeartsofferrichpossibilitiesforother formatsAholisticviewofhumanbeingsthatdrawsupontheexpressiveartsandthecreativepotentialweallhavewithinusisfundamentaltothisbookasaremethodsthathelppeopletoexpresstheirfeelingsandideasSo,too,isa visionofcreativeartsasapowerfulmeanstoaddresssocialinjusticeandcatalyzesocialchange,pavingthewayforindividualandcollectivetransformationforourclientsandforourselves

ACKNOWLEDGMENTS

WearegratefultoDavidFollmeratLyceumandtoOxfordinNewYork(AndrewDominello,DanaBlissandotherscontractedbyOxfordonthisproject)fortheirhelpingettingthisbookreadyforpublication Wealsothankour anonymousreviewersfortheirsuggestionsandcomments

TuulaHeinonen:Iamthankfultothisbookscoauthors,DeanaHalonenandElizabethKrahn Wedevelopedtheideasforthebookandspentmanyhoursworkingaswewrote,reviewed,andrevisedthechapters Ialsothank coauthorsTraceyLavoieandSarahRoche,whocoauthoredindividualchapterswithme IamalsogratefultoJessicaCanardwhoseinterviewmaterialwasusefulinoneoftheChapter3andtoDonStevensforhiscontribution FinallytheFacultyofSocialWorkattheUniversityofManitobagrantedmearesearchleavesoIcouldspendtimeworkingonthisbookandforthatIamgratefulForJordanDerekandChristopher:Iwishyouallthebestinlife andsuccessinovercomingchallengesthatyoumeetalongtheway

DeanaHalonen:IamdeeplyindebtedtoTuulaHeinonenwhoinitiatedthediscussionsaboutthisexcitingendeavoraswellasforhergenerositywiththisopportunitytocoauthorthisbookwithElizabethKrahnandmeHerextensive knowledgeandexperienceasanauthor,alongwithhernever-endingbeliefinthevalueofthiswork,hercreativefacilitationofmanydeepexplorationsofkeyideasandconcepts,andherongoingencouragementtobringitto completionhavebeenabsolutelyinvaluableIalsosaykitchi-meegwetch(hugethank-you)tomyspiritualsistersMargaretTamaraDickscoauthorofMusic Singing andDrumming;Dr CarolynKenny whogenerouslysharedher wisdom,teachings,creativeenergyfordiscovery,andIndigenousperspectiveonthepowerofhealingwithinmusicandthearts;andDewe-igenthedrum;Dewe-iganforherinsightfulanalysis,wisdom,andhumor Dr Kenny’s commitmenttotheprocessofdecolonizationwithintheprofessionofmusictherapyandusingmusicandtheartsintherevitalizationoftraditionalwisdomandsocietiesareapartofhertreasuredlegacy

ElizabethKrahn:IwouldliketoexpressmygratitudetoTuulaHeinonenandDeanaHalonenfortheinvitationtojointhemasacoauthorinthiscreativeendeavorIthasbeenaprivilegetonotonlywriteabouttheartofnarrativeand storyinrelationtopersonalandcollectivehealingandtransformation,apassionofmine,butalsotoengageinthecollaborativeandproductiveprocessofenvisioning,writing,andcompletingananthologyofexpressiveartformsthat enrichandenhancetheeffectivenessofsocialworkpracticeandresearch IwouldalsoliketogivespecialrecognitiontoLauraSimmsandDavidBaxter eachstorytellersintheirownright whocontributedtothestorytellingand poetrycontentofthisbookAspecialacknowledgmentgoestomychildrenandgrandchildren,whoaddsomuchrichnessandinspirationtomylife

ABOUTTHEAUTHORS

TuulaHeinonenisProfessorintheFacultyofSocialWork,UniversityofManitoba,whereshehasbeenemployedfor24years Herscholarlyinterestsareinarts-informedqualitativeinquiry,socialworkandhealth,newcomer settlementandtransitions andinternationalsocialdevelopment aging andgender Sheisalsoanarttherapistwhoisinterestedintheintegrationofdrawing painting andcollageinsocialworkpractice inquiry andeducation and forindividualwell-being

DeanaHalonenisaMetis/Anishinaabe-kwegfromtheGrassyNarrowsarea,andmorecurrentlyKenora,inthenorthwestareaofTreatyThreeterritory(NorthwesternOntario) SheisanInstructorintheFacultyofSocialWork, UniversityofManitoba workingforthepast10yearsasCoordinatoroftheDistanceDeliverySocialWorkProgram andteachingbothonlineandblendedlearningcoursesusingeducationaltechnology Sheisacollaborative experientialteacherandlearnerwhotakeseveryopportunityavailabletointegratetheexpressiveartsintosocialworkpractice,inquiry,andeducation

ElizabethKrahnisasocialworkcounselorinhereighthyearofprivatepracticehavingpreviouslyworkedforanumberofyearsasamentalhealthsocialworkerwithadultsofallagesandstagesoflifeShehasalsospentthelast10 yearsengagedinethnographicandoralhistoryresearchandtherestoryingofcollectivetraumaanditslifespanandintergenerationaleffects,particularlyinrelationtoattachmentinsecurities Ascounselor,researcher,andpresenter, sheintegratesstoryandmetaphorvisualart-makingand/orphotographstoenrichtheprocess

ABOUTTHECONTRIBUTORS

MargaretTamaraDicksisamemberofthePeguisFirstNationonTreatyOneterritoryinManitoba,CanadaHertrainingconsistsofdegreesinmusictherapy,socialwork,andIndigenousstudiesShecurrentlyworksasamental healththerapistinFirstNationcommunitiesandisenrolledinthePhDprograminNativestudiesattheUniversityofManitoba Herresearchinterestsincludetherolemusicplaysintheprocessofdecolonization specificallyinthe livesofwomenLearningandparticipationinbothtraditionalandcontemporarymusicgenresallowhertointegratemusicintoherpersonallife

TraceyLavoieisanInstructorattheUniversityofVictoria,SchoolofSocialWork,andPhDcandidateatMcGillUniversity,SchoolofSocialWork

Havingbothexperiencedandwitnessedthegreatpowerandpotentialof contemplativecreativeandarts-informedpracticesandpedagogiesshecontinuestoweavethemintoherpracticeteachingandresearchHerdoctoralresearchisaphenomenologicalstudythatexploressocialworkeducators’lived experienceoftheintersectionofmindfulnessandantioppressivepracticeintheirpedagogicalphilosophyandpractices

SarahRocheisanelementarydanceandmusiceducatorwithinWinnipegSchoolDivisionShehasworkedasaprofessionalcontemporarydancerandartisteducatorfor10yearspriortobecomingafull-timeteacherafterreceiving aneducationdegreefromQueen’sUniversityin2014 Shehashadtheopportunitytotrainwithavarietyofexpertswithinthefieldofdance,dancetherapy,expressivearts,anddanceeducation Sarahhasprovidedtrainingand movementexperiencesforchildrenandadultswithinthepublicschoolsystem,hospitals,seniorcarehomes,andattheUniversityofManitobaintheFacultiesofSocialWorkandEducation

NOTESONSOURCES

DavidBaxterforextractsfromhispoem, OneMoreTime, fromhisbookofpoetryentitledEmerging,publishedbyPetalPress:wwwpalfordcomandprintedinSalmonArm,BritishColumbia CopyrightbyDavidBaxter,2011 UsedinChapter6 LauraSimmsforheradaptationofatraditionalfairytale, TheGiantWhoHadNoHeart, whichinspiredanewmythicaltale,writtenbyElizabethKrahn,entitled TheKingdomThatLostItsHeart andfoundinChapter6ofthis bookSimms’sfairytaleispublishedinherbookentitledBecomingtheWorld,byLauraSimmsProductionsCopyrightbyLauraSimms,2009

WhyExpressiveArtsforSocialWorkandSocialChange?

TUULAHEINONEN,DEANAHALONENANDELIZABETHKRAHN

InsocialworktheartscanofferuniqueperspectivesapproachesandtoolstomeaningfullyandeffectivelyengagepeoplethroughcreativeexpressionAttheindividualandgrouplevelsexpressiveartsarenotnewandcanbefound intherepertoiresofsocialworkpractitionersinmanyfieldsofpracticeIn1968,RuthMiddleman,writingaboutnonverbalapproachesinsocialworkwithgroups,askssocialworkerstodrawoncreativeartstoencourageimagination andmeaningintheirwork Middlemansawthepervasivepoweroftheartsasavehicleforchange Shenotedthatexpressivearts whenusedinsocialwork canpromotecommunicationeitherdirectlyorindirectlyandresolve problemsorissues Theyhavebeenintegratedinsocialworkascomplementaryoralternativeformsofexpression,therapy,andhealingthatareaimedatindividualandgroupchange(Huss,2013) Socialworkerswhoworkwith childrenhaveusedcreativeformsofplay(Carroll2002)drawingandmusicbecausethisteachesthemaboutchildren’sexperiencesandideas(HussKaufman&Sibony2014;Lefevre2004) Transformationatcommunityandsocietallevelshasalsobeenanareaofinterestinsocialwork,whetheritispartofmacro-levelpractice,socialresearch,orbothIndividualandgroupengagementmaybeconnectedwithorleadto ahigherlevelofchange,asinsocialactionprojectsthatintegrateexpressivearts(Levine&Levine,2011;Sinding&Barnes,2015) Expressiveartsapplicationsinsocialworkareincreasinglygaininggroundinthehumanservice professionsincludingsocialwork(eg Conrad&Sinner2015;Sinding&Barnes2015;Wilson2008;Zingaro2009)

Creativeartsapproachesareusedbymanyhumanserviceprofessions,suchasnursing,education,psychology,medicine,andoccupationaltherapy,ascomplementarymethods Thosewhoviewthemselvesmorespecificallyas professionalexpressiveartspractitionersmayhavetheirowndistinctprofessionalfields suchasart music dance andmovementtherapies inwhicheachisseparatelyorganizedwithauniqueprofessionaleducation identity a practicecodeofethics,principles,andprofessionalassociation However,socialworkersuseexpressivearts,includingvisualarts,music,photography,drama,storytelling,movementanddance,andmore,ascomplementary approachesthattheycombinewithsocialworkpracticemethodsDoingsomakessenseforsocialworkerswhohavelearnedhowtodrawontheexpressiveartsintheirpracticesSocialworkersandotherprofessionalswhomakeuse ofexpressivearts,seethepotentialincreativeartsforhealing,growth,learning,andexpressionSomecreativeartsarenewertosocialwork(eg,movementanddance),andlittlehasbeenwrittenabouttheminrelationtosocialwork practiceorinquiryItisuseful,however,toconsiderhowsuchapproachescouldbeutilizedincombinationwithsocialworkapproachesandmethodsforspecificpopulations Thisbookbeginswithsomekeyconceptsandperspectivesthatreflecttheorientationfromwhichwewriteabouttheintegrationofsocialworkandexpressivearts-basedapproachesTheseelementsarelistednextandarethreaded throughthechaptersthatfollowTheyofferalensfortheareasofexpressiveartsdescribedintheindividualchaptersandtheexamplesgiveninthem

Sixindividualchaptersaboutexpressiveartsmethodsareincluded:(1)visualmethodsincludingdrawingpaintingandcollage;(2)photographyandvideo;(3)movementanddance;(4)storytellingpoetrynarrativeandwriting; (5)songsanddrumming;and(6)theateranddrama Thesechaptersrepresentaselectedgroupofmethodsinexpressiveartsforsocialwork,butothers,suchasfiberarts,sculpture,andmore,couldbeadded Further,eachformof expressiveartsmaybecombined forexample:drawingorphotographywithstories;musicwithmovementanddance;orsinginganddrummingwithstorytelling Somecombinationsmaybewellsuitedforspecificsituationsor groupsofpeople

PURPOSEANDAIMSOFTHEBOOK

Thisbookisusefulforpractitionersinterestedinlearningaboutthepotentialforthecreativeartsinsocialworkandwaysinwhichtheyareandcouldbeappliedinpractice Researchersinterestedinhowexpressiveartscanadd innovativemethodsandactivitiesgreaterdepthandnewviewpointstotheirresearchprocessandtopicsofinquirywillalsofindusesforthebookEducatorswhoseekcreativewaystoenhancelearningexperiencesoftheirstudents mayalsofindthebookhelpful Examplesandillustrationsineachchapterdescribehowcreativemethodshavebeenused Theexamplesincludeawiderangeofsettingsandpopulationsthatwillprovideinsightsforreaders The topicsinthebookmightbealsoofinteresttohumanserviceprofessionalsoutsideofsocialworkHowever,throughoutthebook,wereferprimarilytopractices,principles,andconceptsfromsocialwork

ORGANIZATIONOFTHEBOOK

Thebook’schaptersincludecontentonthenatureoftheexpressivearts examplesofapplications and insome interviewmaterialfromthosewespoketoabouttheiruseofsuchapproachesintheirwork Attheendofeach expressiveartschapter,reflectionquestionsandresourcesthatincludeadditionalliteraturereferences,videolinks,andwebsitesareprovidedTheinformationaboutarts-basedmethodswillenablereaderstodeterminehowtheirown socialworkandinquirypracticesmightbeextendedandenhancedthroughintegrationofcreativeartsapproachesEachchapter,althoughconnectedbycommonthreadsfromexpressivearts,isuniqueSomearecoauthoredwithone ofthebook’sauthors,whereasotherchaptersarewrittenbyoneofthebook’scoauthors

Chapter2providestheorientationthatunderliesourwritingofthisbookonexpressiveartsinsocialwork,anditincludesconceptsfromgreensocialwork;thesignificanceofplaceandtheenvironment;Indigenousperspectives, principles andpractices;socialjusticeandsocialaction;culturalsafetyandrespect;andtheneedforcreativeexpressionforpeople’swell-being Theelementsoftheframeworkhavebeendevelopedbythebook’sauthorsandare looselywovenintothebookschapters

Chapter3describesvisualartsapproachesthathavebeenusedbysocialworkersinmanyfieldsandsettingssuchasmentalhealthfamily-centeredpracticechildandyouthworkdisasterinterventionandmoreDrawingpainting andcollagehavebeenparticularlyusefultopractitionersinhelpingpeopleexploretheirfeelingswhenwordsareinsufficientordifficulttouse

Chapter4ontheuseofphotographyandvideoislessestablishedinsocialwork,withtheexceptionofphotographicimagesfordocumentationortherapeuticusebysocialworkerswithfamiliesandchildrenorothergroupsVideo, asarelativelynewmedium,isnowseeninanumberofcommunityandyouthprojectsaswellasineducationandsocialaction Thismediumsometimesoverlapswithstorytellingandnarrativewherevideo-makingisaimedat capturingstoriesofpeople,events,oractionsPhotography,usefulinqualitativeresearch,involvestheparticipationofthosewhoarethesubjectsofsocialresearchasactiveparticipants

Chapter5discussesthefieldofmovementanddanceanditspotentialusesinsocialworkshowinghowphysicalmovementinawiderangeofformsandapplicationscanbehelpfulforpeopleAlthoughnotevidentinsocialwork literature,movementanddancearebeneficialformanyclientgroups,includingchildrenandyouth,olderpersonsinlong-termcareresidences,cancersurvivors,disabledpersons,andwomenwhohavesurvivedabuse Theartofstorytelling poetry narrative andwritingasawayofengagingwithoneselfandtheother andrestoryingindividualand/orcollectivelivesisdiscussedinChapter6inrelationtosocialworkandsocialchange The transformativepowerinherentinthetellingandhearingofanindividualorcollectivestory,whetheritbethehistoryofalifelived,apoeticreflection,oramythictale,canhaveprofoundpersonalandsocialimplications Several narrativestylesandmediumsarediscussedinthechapterinrelationtoawiderangeofclientsandpopulationstoofferaplatformformarginalizedvoicestobeheard;toinspirecreativeandreflexivesocialworkeducationand practice;andtocontributetomorepowerfulqualitativeresearchthatbetterinformspolicyandpractice Inthecaseofdigitalstorytelling storiescanbemadepublicanddisseminatedlocallyandinternationally thankstothe accessibilityofsocialmedia

Chapter7isaboutdrummingandmusicmethodsthatarenotnewbutarenotwellknowninsocialworkpracticeInIndigenouscommunitiesdrummingandformsofsingingareimportantculturaltraditionsthatconnectpeopleto theuniverseandlifeitselfAninterviewwithanIndigenousmusictherapistgivesauniqueshapetothischapterManykindsofmusicfromclassicaltohip-hopcanbeintegratedinsocialworkMusiccanevokedeepfeelingaffecting people’semotionsandbehavior

InChapter8,theateranddramaarediscussedTheseapproacheshavebeenincludedinsocialworkasroleplays,enactmentsoftheeffectsofsocialinjusticeongroupsofpeople,and/oraccountsofpeopleslivesthatwecanlearn from Thepowerofperformanceforthosewhoactandfortheiraudiencescangeneratestrongfeelingsforactorsandforaudienceswhowitnessthepowerofothers’feelings,resultinginconnectionandindividualandsocial transformationforbothgroups

Finally,inChapter9,wesummarizethekeyideas,contributions,lessons,andchallengesinintegratingandimplementingexpressiveartsintosocialworkWedrawfromthethreadsthatholdthebookschapterstogetherandonthe frameworkoutlinedinChapter2Finallywemakerecommendationsforthefutureofexpressiveartsinsocialworkpracticeinquiryandeducation

REFERENCES

CarrollJ(2002)Playtherapy:Thechildren’sviewsChildandFamilySocialWork7177–187 Conrad,D,&Sinner,A(Eds)(2015)Creatingtogether:Participatory,community-based,andcollaborativeartspracticesandscholarshipacrossCanadaWaterlooON:WilfridLaurierUniversityPress HussE(2013)Whatweseeandwhatwesay:UsingimagesinresearchtherapyempowermentandsocialchangeNewYorkNY:Routledge HussE KaufmanR &SibonyA(2014)Children’sdrawingsandsocialchange:FoodinsecurityandhungeramongIsraeliBedouinchildrenBritishJournalofSocialWork441857–1878doi:101093/bjsw/bc034 Lefevre,M(2004)Playingwithsound:ThetherapeuticuseofmusicindirectworkwithchildrenChildandFamilySocialWork9,333–345 LevineE &LevineS(2011)Artinaction:ExpressiveartstherapyandsocialchangeLondonUK:JessicaKingsley Middleman,R(1968)Thenon-verbalmethodinworkingwithgroupsNewYork,NY:AssociationPress Sinding,C,&Barnes,H(Eds)(2015)Socialworkartfully:BeyondbordersandboundariesWaterloo,ON:WilfridLaurierUniversityPress WilsonS(2008)Researchisceremony:IndigenousresearchmethodsBlackPointNS:FernwoodPress Zingaro,L(2009)Speakingout:StorytellingforsocialchangeWalnutCreek,CA:LeftCoastPress

ASocialWorkOrientationforTransformationUsingExpressiveArts

TUULAHEINONEN,DEANAHALONENANDELIZABETHKRAHN

Individualandsocialchangeandtransformationareimportantgoalsatthecoreofsocialworkpracticeandinquiry

Socialworkersaimtousearangeofmethodsandapproachestoaddressthesegoalsforthebenefitofpeoplewith whomtheywork Ininquiryandeducation,whereknowledgeisgeneratedandshared,individualandsocialtransformationamongstudents,researchers,andcommunitygroupsisalsohighlighted(eg,Rutherford,Walsh,&Rook, 2011)Thedevelopmentofasocialworkorientationforindividualandsocialtransformationusingexpressiveartsinsocialworkisviewedbyusascomprisingthefollowingelements:theenvironment includinggreensocialwork andthesignificanceofplace;Indigenousperspectives,principles,andpractices;socialjusticeandsocialaction;culturalsafety;andcreativeexpressionasacompellinghumanneedforpeopleswell-being Theseconceptsandideas shapeourorientationandarelooselywoventhroughmanyofthechaptersonexpressiveartsinthisbook

THEENVIRONMENT:GREENSOCIALWORKANDTHECONCEPTOFPLACE

JohnCoatesandMelGray(2011)notethat althoughtheenvironmentalmovementhasbeenevidentfornearlyfourdecades socialworkhasbeenslowinrespondingtoitsissues TheypointtoaneditedworkbyHoffandMcNutt publishedin1994,thatofferedstrategiesforsocialworkinvolvementinenvironmentalissues However,theimpactonthesocialworkprofessionwaslimited McKinnon(2013)questionedwhethersocialworkers(inAustralia) viewedtheenvironmentasaprivateconcernforindividualsorasanissueforthesocialworkprofession ShecitedtheAustraliancodeofethicsforsocialworkers indicatingrecentlyintegratedconcernsfortheenvironmentand humaninteractionwithit,butsuggestingthatsocialworkersmayhavelimitedopportunitytotaketheseupgivenfrontlinepracticeresponsibilitiesanddemands,aswellasuncertaintyonhowtoproceedSheconcludedthatforthe20 socialworkerswhoparticipatedinherstudy,most“hadnotfoundawaytosuccessfullyincorporatetheirenvironmentalunderstandingandconcernsintotheirprofessionalpractice”(p167)McKinnonfoundthatshiftingtheconcern forenvironmentalissuesfromanindividualtoprofessionalsocialworkpracticelevelremainedachallenge

Greensocialworkandenvironmentaljusticehavebecomeimportantissuesinsocialworkbothatlocalandgloballevels(Alston,2015;Dominelli,2014;Drolet,Wu,Taylor,&Dennehy,2015;Norton,2011),notonlybecauseitis importantthatsocialworkincludesthebroadpictureofcurrentecologicalissues climatechange andthehealthofourearth butbecauseenvironmentalproblemstendtoaffectthosewhoarepoorandleastabletoadapttothese eventsandprocesses Zapf(2009)statesthatsocialworkscholarshaveconceptualizedtheenvironmentascomposedprimarilyofsocialelements,withlittleattentionpaidtophysicalandotherkindsofenvironments Healsonoted thatsocialworkhadbeenoutsideofthediscoursesonecologyandtheenvironmentandasaresulthasnotengagedintheissuesthatothersocialandphysicalscienceswerewritingaboutHawkins(2010)anAmericansocialwork scholar,urgedsocialworkerstoactinordertoteachstudentsandothersandtocurbthedamagetohumanandanimalhabitatscausedbyintenseandunbridledpursuitofeconomicprogressShewritesabouttheurgencyofincluding environmentaljusticeaspartofthehumanrightsagendaandpeople’scollectiverightsallovertheworldHawkinsalsoarguesforamorerapidandfocusedresponsetostopresourcedepletionShestates: Socialwork asthehelpingprofessionthattraditionallyfocusedonlinkagesacrosssystems mustactivelyjointhismovement[environmentaljustice]ifwearetostayrelevantinthecontemporaryglobal21stcentury Ourprofessionalmissionof advocatingforandactingtowardsocialandeconomicjusticemustbeexpandedtoincludeenvironmentaljustice(p6)

GrayandCoates(2013)introducedaframeworkforecospiritualsocialwork,settingoutitsprinciplesandunderpinningideasreflectingaholisticview,similartoanIndigenousworldview Ecospiritualityembracesasitsprimary principles:“[A]llisone,interdependence,diversity,inclusivity,sacrednessoftheEarth,andpersonalresponsibilityforthewell-beingofall”(p 362) Itsaimistoestablisha“deepconnectionandconcernforthewell-beingofthe Earthanditssustainabilityforfuturegenerations”(p262)Atthesametimeitseeksalternativestodestructiveeconomicpracticesthatharmtheearthanditsinhabitantsandlooksbeyondindividualityinordertodoso Currently,theriseofgreensocialworkanditsconcernswithecologyandtheenvironmenthasturnedtheattentionofscholarstowarduseofastructuralanalysisinexaminingthesocial,economic,andpoliticalforcesthatcause harmtotheearthanditsinhabitants(seeDominelli2014)Socialworkerswhoseekenvironmentaljusticebelievethatitisinourinteresttoworkwithlike-mindedcolleaguesfromarangeofdisciplinestobringtolighttheissuesand mobilizeallieswhocantogetherseekstrategies,methods,andtoolstoalleviate,slowdown,andendharmfulpracticesthathurtourearthsenvironment

AsGrayandCoates(2015)state“[A]broadencompassingtheoreticalframeworkthatincorporatesanunderstandingofenvironmentalissuesandtheirimpact”isneededbecausetheinterdependenceofhumansandallformsoflife requireit(p6)Socialworkcanjoinforceswithothergroupstoworktowardsocialtransformation,bothlocallyandgloballyThereismuchroomforsocialworkerstoengageinaddressingenvironmentalprotectionandjustice,not onlyinlocalefforts,suchasreducingfuelconsumption,growingcommunitygardens,innovatingforrecyclingprograms,butalsobyparticipatingineffortsatbroaderlevelswithinternationalandnationalorganizationsaimingfor socialchangeonissuesoftheenvironment

TheConceptofPlace

Relatedtothephysicalenvironmentisplace whichZapf(2009)referstoasageographicalsiteorspacethatexcludesonlinesitesorcommunitiesofpeoplewithcommongoalsandinterests Rather “adynamicsenseofcontext of behaviour issituatedinplaces Proximity,commonground,andsharedaspirationscontributetoneighbourhoodswherephysicalfeaturesmaybeseenasassetsandresources (p 78) However,asZapfnotes,theideaofplacein socialworkisrelativelynewandrequiresfurtherdevelopmentPlaceattachmentandplaceidentityconceptshelpinunderstandinghowneighborhoodshavemeaningforpeoplewholiveinthem(Devine-Wright2013)Peoplemaybe attachedtoseveralplacesatthesametimeandidentifywiththemallindifferentways Theyareoftenabletochangetheirattachmenttoneighborhoodsorplacesbyseekingnewlivelihoodsormovingtonewneighborhoods The environment,land,andwayoflifeareanimportantpartoftheconceptofplace,particularlyforruralpeopleandthosewhoselivesandlivelihoodsdependontheland(seeScoones,2015) FormanyNorthAmericanIndigenouspeopleplaceisespeciallyimportant(Zapf2009)Inabookaboutactivistprojects(WhitmoreWilson&Calhoun2011)Docherty(2011)describesinachapterhighlightingtheStorytellers’ Foundation,thepracticeoflivinginrelationship,andcapturestheconceptofplaceinherreferencetopeoplewhoare land-basedcitizens (p127)Shedefinesthemasthosepeoplewhoare deeplyconnectedtoplaceRelationships thathavebeenwovenforonehundredyearsandrelationshipsthathavebeenwovenfor10000yearsshapetheirfamilies”(p127)Thislonghistoryandcollectivememoryofaspecificgeographicalareaassustainingandfamiliar shapesthelivesofthosewholiveinproximitytooneanotherandwhosehistory,culture,andsocialtiesprofoundlyconnecttoland,home,andphysicalspacethatrootthemtoaplace Formanypeople,theplacestowhichtheyhavebeendeeplyconnectednolongerexistastheyoncewereandmayevokefeelingsofdeepgriefandloss ForIndigenouspopulationsworldwide,thisrelatestothefalloutof colonizationand/orencroachmentofcorporateintereststhathaveallbutdestroyedtheirnaturalhabitats Inthecaseofrefugeeswhohavesurvivedpoliticalpersecution,genocide,orwar,theirattachmentistoaplacewheretheir ancestorshavelivedformanygenerationsandtowhichtheycannolongerreturn NorthAmericansettlers,aftergenerationsoralifetimeofbeinggroundedinaplaceofstrongcommunityrootsandfamilynetworks,havealso experiencedthefracturingoftheseland-basedcommunitiesbyadominantcorporateeconomicclimatethatnotonlydamagestheirenvironmentbutrequiresgeographicmovementoffamilyandcommunitymembersseekinggainful employment InAnotherCountry,MaryPipher(1999)discussestheplightofagingindividualswhofacelivingouttheirlivesisolatedintheirhomesorinlong-termcarefacilities andtheirchildrenandgrandchildrenwhoare sometimesthousandsofmilesawayShelikensthisolderpopulationtothosewhoarefrom“anothercountry”becausetheyhaveadifferentculturalmindsetandnolongerfitintothecurrentnormMoreovertheriseofmentalhealth issues,poverty,homelessness,andviolencewithinthecontextoflocalandglobaltrendshighlightslargesegmentsofthepopulationwhooftenstruggletofindplaceandbelonginginafragmentedworld whohaveliterallybeen displacedorhaveperhapsneverhadtheopportunitytoexperienceasenseofattachmenttoplace

Socialworkerswhoworkdirectlywiththesepopulationscanintegrateexpressiveartsapproachestoengagewithclientstoriesandprocessthelossofplace,ofhomeland,ofpreviouslylong-standingculturalcommunitythatisnow dispersed Opportunitiestosharestoriesandexpresstheemotionalthemesinherentintheseexperiencesofdisplacementandloss(includinginstitutionalcareorincarceration)canbeverypowerful,whetherorallywithotherswho deeplywanttolisten throughart-making photography orvideo;storytelling poetry orwriting;music dance ordrama inone-on-one group orcommunitycontexts Chapter6providesexamplesofhowstorytelling poetryand writing,andothernarrativeapproachesinsocialworkpracticeandresearchcanbeusedwithavarietyofpopulationstosupportindividual,group,andcommunitytransformationandstructuralchangeAlthoughplacesofthepastmay neverberestoredandwhathappenedinthepastcannotbechangedtheartofrelationshipandcommunitywhichissupportedbythesharingofstoriesoftenincombinationwithotherexpressiveartforms(asdescribedinChapters4 to8),canempowercommunitybuildingandanew,moresustainableconstructionofplace ForamovingdocumentaryonrestorativejusticegroundedinthegrowingreconciliationandfriendshipbetweenanIndigenousgroupwho hadlosttheirancestrallandandsacredplaces,andsettlerswhohadfarmedtheland(andsharedanattachmenttoit)formanydecades,pleasefollowthefollowinglink:https://wwwreserve107thefilmcom/

INDIGENOUSPERSPECTIVESPRINCIPLESANDPRACTICES

Indigenousworldviewsandvaluesalignwithmanyoftheideasfromenvironmentalandgreensocialworkandchallengemoreconventionalsocialworktherapeuticapproachesandpracticesinthattheydemandattentiontothesocial structuresthatshapethelivesofthosewithwhomsocialworkersengage(Gray&Coates,2015) GrayandCoatessuggestthatsocialworkisnowmoreawareoftheeffectsofenvironmentaldamageandclimatechangethat,in additiontogrowingsocialinequalityinmostpartsoftheworld,affectIndigenouspeople,thoselivinginconditionsofpoverty,andthosewhereconflictandwarcleaveanddestroycommunities

Socialactioninitiatedbygroupsofpeoplewhostruggletoupholdenvironmentalvaluesarepresentedbythemediawhendemonstrationsandeventsshowingoppositiontocorporateeconomicprojectsthreatentheenvironment OneexampleisseeninrecenteffortstostopthebuildingofpipelinesacrosslargeareasoflandacrossNorthAmerica(seeCouncilofCanadianswebsiteathttp://canadiansorg/pipelines)Theybelievethattheenvironmentneedstobe protectedandmaintainedforfuturegenerationstoenjoyandthatwhenthereisthepotentialforpollutionanddestruction economicgainshouldnotdrivedecisions Whenenvironmentalharmposesriskstohumans animals air water,andlandthatsustainusall,thereisaneedtopaycloseattentiontodecisionsbeingmade

Indigenouspeoplesdrawonspiritualandculturalbeliefsandpracticestomaintainwell-beingthroughdrummingandsinging(GoudreauWeber-PillwaxCote-MeekMadill&Wilson2008;Kenny2006)andhealingritualssuch assmudginganduseofsweatlodge,themedicinewheel,andsharingcircles(Hart,2002;Sinclair,Hart&Bruyere,2009)Theseapproachesareframedbyvaluesthatprioritizeprotectionandappreciationofthenaturalworldaswell ascare,concern,andrespectfornatureandalllivingbeingsinrelationshipwithoneanother Chapter7describesexpressiveartsapproachesbasedonsongsanddrumminginanIndigenousworldviewandculturalcontext This chapterdiscussestheroleofthedrumanddrummingforIndigenouspeopleandhowthegrowingacceptanceofthehealingpowerofmusic,drumming,andsingingamongtherapists,mentalhealthprofessionals,andsocialworkers situatestraditionalIndigenousapproachestohealthandwell-beingontheleadingedgeoftherapeutichealingItprovidesexamplesofhowtheseformsofexpressionconnectpeopletothelandandtheenvironment,andencouragethe developmentofconsciousnessaboutthesemattersandadeeprespectforIndigenousknowledgesandtraditionalwaysofhelpingandhealing

SOCIALJUSTICEANDSOCIALACTION

SocialJustice

Inthehistoryofsocialwork socialinjusticehasbeenaconcernthattheprofessionsoughttoaddress Seekingsocialjusticewasapartofthesettlementmovementintheearlydaysofsocialwork anditbelongsinaprofessionthat worksforindividualandcollectivechangeandtransformationtoaddressissuesofpoverty,inequality,humanrights,andoppression Socialjusticeisacoreprincipleinsocialworkandiscontainedinthecodeofethicsforsocial workers,notonlyinCanada,butinmanyothercountriesAsLundywrites,“Socialjusticeandequalityneedtobeseenasintegrallylinkedtotheneedforeconomicsecurityandaccesstobettersocialservicesandprograms”(2011,p 30) Lundyalsonotesthatissuessuchastheenvironment humanrights andarmedconflictstrengthensocialwork’sresolveforsocialjustice Unfortunately theseaimsarenoteasilypursuedintheday-to-dayworldofsocialwork practice,giventhedemandsatthefrontlinethatfocussocialworkenergyandtimeinthedeliveryofsocialservicesNevertheless,thereareexamplesofsocialworkpractitioners,researchers,andscholars,sometimesinconjunction withcommunitygroupsororganizationswhosecommitmenttosocialjusticehasledtosocialactionandtosocialchangeandtransformation SocialAction

Themethodsusedinsocialactionaimtoraisepeople’sconsciousness producecriticalquestions anddrawattentiontoissuesthatconcerngroupsofpeople Socialactionrefersnotonlytoarangeofmethodsthatbringtoattention viewsandideasaboutsocialjusticetomakethemknownlocally,nationally,and/orinternationallybutalsogeneratesactionthatleadstocollaborationforbettersocialpolicies,laws,programs,newinitiatives,andsupportive resourcesSocialactioninitiativesdonotaimtohurtpeopleorotherlivingthingsthroughviolence,buttheycanbeloud,brash,orstridentTherearemanyexamplesofsocialactioninvolvingcommunitygroupsandsocialworkersin eventsandactivitiesforsocialchange

InCanada,theCalgaryRagingGrannies(Montgomery,2011),withtheirengagingsongsandcostumes,drawpublicattentiontomanyissuesofsocialconcern,suchastheneedtoprotecttheenvironmentortheclosureofneeded socialprograms Asonememberexplained beingpartof belonging tosomethingwithotherswhosharecommonvaluesandideasoffersitsownrewards WiththeGrannies humorandtheelementofsurprisecanaddtotheir effectiveness AnexamplefromtheUnitedStatesistheInternationalFiberCollective(Weida&Marsh,2011),whichcombinesartandactivism InitsGasStationProject,thisgrouphasproducedwrappingsoutofyarn,fiber,and othermaterialstowrapanabandonedgasstationinordertoraiseawarenessaboutsociety’sdependenceonfossilfuelsandthedamagingresultstotheenvironmentThefinishedproductisstrikingandthosewhostoptoviewitmore closelyareexposedtothepurposeoftheworkandwhyitwasmade(seehttps://wwwyoutubecom/watch?v=neOqItgVoTY) WeidaandMarsh(2011)refertothissocialactionapproachaspublicartanddigitaldocumentationasit

usesbothmethodstodisseminateitsmessage(Formoreinformationontheorganizationseehttps://ifcprojectscom)Otherexamplesofsocialactionaredescribedthroughoutthechaptersofthisbook CULTURALSAFETY

TheconceptofculturalsafetywasdevelopedinNewZealandbynursingprofessionalsseekingtoimprovehealthcareforMaoriIndigenouspeople(Williams1999)Culturalsafetycanbeviewedasthefarthestpointonacontinuum whereculturalawarenessisontheoppositesideandculturalcompetenceisatthemidpoint(Brascoupé&Waters,2009) Socialworkersareencouragedtostartwheretheclientis,whichmeansattemptingtounderstandthe significanceofculturetoindividualsandgroupsofpeopleandhowitshapestheirlives(Heinonen&Spearman 2010) Itisnotpossibleforsocialworkerstolearnaboutallculturesorevenexpectthattheycangeneralizethata personfromoneparticularculturalbackgroundwillhavethesamebeliefsandpracticesasanotherand,therefore,willthinkandbehaveinsimilarways Itispossibletobeawareofculturaldifference,buttobecomecompetentin workingwithpeopleacrossourownculturesandthoseofothersisrarelyachieved Culturalsafetyasaconceptisimpreciseanddifficulttodefine Rather,itmightbeeasiertounderstandwhatisculturallyunsafe(eg,lackofrespect,minimizingneedsandinterests,andcontroloverdecisionsthataffectanother person) Somerefertoculturalsafetyasrepresentingashiftfromculturalawarenessandculturalcompetencewhere“culturalsafetyrepresentsamoreradical,politicizedunderstandingofculturalconsideration,effectivelyrejecting themorelimitedculturallycompetentapproachforonebasednotonknowledgebutonpower”(Brascoupé&Waters 2009 p 10) Inthisconceptualization powerintherelationshipbetweenprofessionalsandthosetowhomthey provideserviceneedstobeattendedtoinordertobuildsafetyForexample,forIndigenouspeopleswhohaveexperiencedoppression,colonization,residentialschools,andotherharmfulactsandprocesses,powerintherelationship isanissuethatneedsattentionThisviewcanbeappliedtoworkingwithsocialworkandwithexpressiveartsandisexplainedfurtherinChapter7inrelationtoIndigenoussinginganddrumming Althoughdifferenthistories,circumstances,andneedsmaycharacterizetherealitiesofpeoplefromotherculturalbackgrounds,itwouldbehelpfultoconsiderpromotingculturallysafepractices Forexample,refugeeswhohave experiencedwar conflict andothertraumawillneedtobetreatedwithcareandunderstanding Ofcourse otherswhoperceivethemselvesaspowerlessorcontrolledbyotherswhoexercisepoweroverthemmayfeelunsafe(eg peoplewhoarehomeless,strugglewithmentalhealthissuesoraddictions) Theyhavelikelyexperiencedmarginalizationintheirlivesandcouldbenefitfromtreatmentthatincludesgreatersensitivityandunderstandingoftheneed forsafety,whetherduetoethnoculturalorotherbackground

Despitethemanydifferencesbetweenpeoplebasedonculturalbackgroundwhathasbeendemonstratedthroughouthistoryisthepotentialforindividualsofallculturestobebothvictimsandperpetratorsofhorrifictraumaticacts enactedbetweenoneanotheraswellaswithintheirownculturalgroups Inlightofpersonalexperienceaswellasthegrowingresearchandliteratureontheintergenerationaltransmissionofcollectivetrauma,ArmandVolkas,a drama therapist based in the United States facilitates Healing the Wounds of History (HWH) workshops internationally to address the impact that such trauma has on the personal and collective psyche (see http://wwwhealingthewoundsofhistoryorg/)

Givenitstransformativepotential itsabilitytohumanizeboththevictimandtheenemyand,inthatway,findcommongroundandempathywithoneanotherdespitehistoricalabuses VolkasfacilitatesHWHworkshopswith serviceproviders;grassrootscommunity-buildinggroups;andgroupsofparticipantsfromtwocultureswithacommonlegacyofconflictandhistoricaltrauma,suchasdescendantsofNaziperpetratorsanddescendantsofJewish Holocaustsurvivors,PalestiniansandIsraelis,ArmeniansandTurks,tonameafewHestates:

ByworkingwiththespecificparticipantswhoarerepresentativesoftheirculturesIseektomakeatherapeuticinterventioninthecollectiveorsocietaltraumaInthiswaymyworkisrelatedphilosophicallytoPsychodramasfounderJacobMorenosidea that“Atrulytherapeuticprocedurecannothavelessanobjectivethanthewholeofmankind”(Moreno 1953) HWH whichtakesapsychologicalapproachtoconflict providesamaptohelppolarizedgroupstraversetheemotionalterrainto reconciliationInthissensetheapproachisaformofsocialactivism(Volkas,2009,p147)

Associalworkers(orrepresentativesofanyotherprofessionaldiscipline),expressiveartformssuchaspsychodramacanalsosupportusindeconstructingourownculturallocationanditshistoricallegacies,whichmaybe unconsciouslyinfluencingourrelationshipswithothers

CREATIVEEXPRESSIONASACOMPELLINGHUMANNEED

Socialworkscholars(eg,Conrad&Sinner,2015;Sinding&Barnes,2015)havedescribedarangeofexpressiveartsmethodsthatcanbeusefulinsocialworkpracticeandresearch Thesemethodsaddtosocialworkrepertoires, benefitingthosetheyworkwithandcontributinginnovationtotheprofession Formanypractitioners,timeconstraints,lackofexperience,littlesupportfromsupervisorsormanagers,and/oragencymandatesmaylimitsocial workers’applicationofart music story writing orotherexpressiveartsapproachesintheirwork Overthelastdecade anincreasingnumberofjournalarticlesandbooks(eg Conrad&Sinner 2015;Leavy 2015;McLean& Kelly,2011;Sinding&Barnes,2015)haveappeared;andworkshops,courses,andconferenceshaveengagedsocialworkers interestinexpressiveartsmethods

WeviewtheconceptsandprinciplesdiscussedinthischapterasperspectivesandviewsthatshapeourthinkingaboutsocialworkandexpressiveartsThesearelooselywoventhroughchapterswherethereareclearconnectionsIn allchaptersweaddressindividualandsocialchangeandtransformation Theelementsthatconstructourorientationtoexpressiveartsapproaches,whenintegratedintosocialworkandotherhelpingprofessions,alsoinformreaders aboutourvaluesandviewsDiverseexamplesarereferredtointhechaptersthatfollowLiteraturefromcognatedisciplinesofsocialwork,suchaseducation,psychology,sociology,andIndigenousstudies,arealsoreferredtowhen theyresonatewiththepurposesaimsandusesoftheexpressiveartsasdescribedinthisbook(eg Levine&Levine2011;McGregor2012)Theseideasofferameansbywhichtoorientthebook

REFERENCES

AlstonM(2015)SocialworkclimatechangeandglobalcooperationInternationalSocialWork58(3)355–363doi:101177/0020872814556824 BrascoupéS,&Waters,C(2009)Culturalsafety:ExploringtheapplicabilityoftheconceptofculturalsafetytoAboriginalhealthandcommunitywellnessJournalofAboriginalHealth5(2)6–41 CoatesJ &GrayM(2011)Theenvironmentandsocialwork:AnoverviewandintroductionInternationalJournalofSocialWelfare21230–238 Conrad,C &Sinner,A(Eds)(2015)Creatingtogether:Participatory,community-basedandcollaborativeartspracticesandscholarshipacrossCanadaWaterloo,ON:WilfridLaurierUniversityPress Devine-WrightP(2013)Thinkglobalactlocal?TherelevanceofplaceattachmentsandplaceidentitiesinaclimatechangedworldGlobalEnvironmentalChange2361–69 DochertyA(2011)Storytellers’Foundation:LearningforchangeInEWhitmoreMWilson&ACalhoun(Eds)Activismthatworks(pp124–132)HalifaxNS:Fernwood Dominelli,L(2014)Promotingenvironmentaljusticethroughgreensocialworkpractice:AkeychallengeforpractitionersandeducatorsInternationalSocialWork,57(4),338–345 DroletJ WuH TaylorM &DennehyA(2015)Socialworkandsustainablesocialdevelopment:Teachingandlearningstrategiesfor greensocialwork curriculumSocialWorkEducation34(4)528–543 GoudreauG Weber-PillwaxC Cote-MeekS MadillH &WilsonS(2008)Handdrumming:Health-promotingexperiencesofAboriginalwomenfromanorthernOntariourbancommunityJournalofAboriginalHealth4(1)72–83 Gray,M,&CoatesJ(2013)Changingvaluesandvaluingchange:TowardanecospiritualperspectiveinsocialworkInternationalSocialWork,56(3),356–368doi:101177/0020872812474009 GrayM &CoatesJ(2015)Changinggears:ShiftingtoanenvironmentalperspectiveinsocialworkeducationSocialWorkEducation:TheInternationalJournal5502–512doi:1011080/0261547920151065807

HartM(2002)Seekingmino-pimatisiwin:AnAboriginalapproachtohelpingHalifax,NS:Fernwood Hawkins,C(2010) Sustainability,humanrights,andenvironmentaljustice:Criticalconnectionsforcontemporarysocialwork CriticalSocialWork,11(10) Availableathttp://www1uwindsorca/criticalsocialwork/the-nexus-of-sustainability-human-rightsand-environmental-justice-a-critical-connection-for-contemp Heinonen,T,&Spearman,L(2010)Socialworkpractice:ProblemsolvingandbeyondTorontoON:Nelson HoffMD &McNuttJG(Eds)(1994)Theglobalenvironmentalcrisis:ImplicationsforsocialwelfareandsocialworkAldershotUK:AshgatePublishers KennyC(2006)Musicandlifeinthefieldofplay:AnanthologyGilsumNH:Barcelona Leavy,P(2015)Methodmeetsart:Arts-basedresearchpracticeNewYork,NY:GuilfordPress LevineE &LevineS(2011)Artinaction:ExpressiveartstherapyandsocialchangeLondonUK:JessicaKingsley Lundy,C(2011)Socialwork,socialjustice,&humanrightsToronto,ON:UniversityofTorontoPress McGregor,C(2012)Arts-informedpedagogy:ToolsforsocialtransformationInternationalJournalofLifelongEducation,31(3),309–324doi:101080/026013702012683612 McKinnonJ(2013)Theenvironment:AprivateconcernoraprofessionalpracticeissueforAustraliansocialworkers?AustralianSocialWork66(2)156–170doi:101080/0312407X2013782558 McLean,C,&Kelly,R(Eds)(2011)CreativeartsinresearchforcommunityandculturalchangeCalgary,AB:DetseligEnterprises/TemeronBooks MontgomeryS(2011)CalgaryRagingGrannies:AffectiveandeffectiveInEWhitmoreMWilson&ACalhounActivismthatworks(pp64–79)BlackpointNS:Fernwood MorenoJL(1953)Whoshallsurvive?NewYorkNY:BeaconHouse Norton,C(2011)Socialworkandtheenvironment:AnecosocialapproachInternationalJournalofSocialWelfare,21,299–308 PipherM(1999)Anothercountry:NavigatingtheemotionalterrainofoureldersNewYorkNY:TheBerkeleyPublishingGroup/PenguinPutnam Rutherford,G Walsh,C,&RookJ(2011)Teachingandlearningprocessesforsocialtransformation:EngagingakaleidoscopeoflearnersJournalofTeachinginSocialWork31(5),479–492doi:101080/088412332011614206 Scoones,I(2015)SustainablelivelihoodsandruraldevelopmentBlackpoint,NS:Fernwood SinclairR HartM &BruyereG(2009)Wichitowin:AboriginalsocialworkinCanadaBlackPointNS:Fernwood Sinding,C,&Barnes,H(Eds)(2015)Socialworkartfully:BeyondbordersandboundariesWaterloo,ON:WilfridLaurierUniversityPress VolkasA(2009)Healingthewoundsofhistory:DramatherapyincollectivetraumaandinterculturalconflictresolutionInDJohnson&REmunah(Eds)Currentapproachesindramatherapy(pp145–171)SpringfieldIL:CharlesCThomas WeidaC &MarshJ(2011)Weavingprovocationsforsocialchange:TheInternationalFiberCollaborativeInCMcLean&RKelly(Eds)Creativeartsinresearchforcommunityandculturalchange(pp109–114)CalgaryAB:Detselig Whitmore,E,Wilson,M,&Calhoun,A(Eds)(2011)ActivismthatworksBlackPoint,NS:Fernwood WilliamsR(1999)Culturalsafety whatdoesitmeanforourworkpractice?AustraliaandNewZealandJournalofPublicHealth23(2)213–214 ZapfM(2009)Socialworkandtheenvironment:UnderstandingpeopleandplaceTorontoON:CanadianScholars’Press

VisualArts

Drawing,Painting,andCollage

TUULAHEINONEN

INTEGRATIONOFVISUALARTSINTHECONTEXTOFSOCIALWORK

Visualartsofferavastandrichtreasurechestofmedia,methods,andapplicationsforarts-basedsocialworkandsocialdevelopmentArtandexpressivetherapistsknowthatdrawing,painting,collage,mixedmedia,andcombinations ofthesemethodsareavailablefortheiruse Socialworkers too canmakeuseoftheseascomplementarymethodsintheirpracticeworkwithpeopleinawiderangeofpracticesettings Materialstocreatevisualartpiecesareoften easytofindandcanincludeuseofpaint,inks,pencils,pensandpastels,and/orrecycledpapersandimages Applicationscanbeintroducedaspartofassessmentorinterventionactivitiesinworkwithclients Theprocessofartmakingisusuallymoreimportantthantheproduct,orbothmaybeequallyimportantforsomeUsingvisualartmediaforindividualandsocialtransformationcanproducepowerfulexpression,insights,andempowermentforpeople InvisualartsworkwithindividualsandgroupsthereisawideanddeeppracticehistoryThepioneersofarttherapysuchasHelenLandgarten(1987)andEdithKramer(1971)wereassociatedwithpsychiatryandpsychologyand practicedwithpatientsinhospitalsandinotherhealthcaresettingsArttherapyhasgrownandchangedovertheyears,andhumanserviceprofessions,suchasnursing,education,andsocialwork,haveadoptedtheuseofvisualartsin theirownprofessionalpracticesalthoughnotarttherapyasarttherapistsapplyit

Socialworkprofessionalsinmanyfieldsofpracticemayfindinthevisualartsawelcomecomplementforpracticewithindividuals,families,groups,andcommunities,andhavedevelopedoradaptedvisualarts–basedmethodsand toolstosuittheneedsofthosewithwhomtheyworkFurthermore,somesocialworkerswithaninterestinusingartintheirworkwithindividualsorgroupshaveaddedtotheircredentialsbycompletingarttherapyorexpressivearts diplomasordegreestobroadentheirrepertoiresandskills Sucheducationand/orexperienceintheart-makingprocessisessentialbecauseitenablesthosepractitionerswithonlyalittleartbackgroundtolearnaboutmaterials, methods,exercises,andtheirapplicationsTheycanalsotryoutart-makingprojects,methods,andexercisesinordertoexperienceforthemselvestheprofoundpowerofthevisualartstoeffectchange Whenarts-basedmethodsareeffectivelyandappropriatelyappliedinpractice theycanpromotehealingandwell-being buildcommunitycohesion andleadtotransformationinindividuals groups andcommunities(Coholic Cote-Meek,&Recollet,2012;Moxley,2013;Phinney,Moody,&Small,2013;Slayton,2012)SomeexercisescangenerateemotionsorinsightsthatareprofoundItisnecessaryforasocialworkertobepreparedandtoknowhowto respondtostrongfeelingsandemotionalpain Theeffectsonsocialworkclientsintheiruseofmaterialssuchaspaint pastels pencils orimagesmayalsogeneratediscomfortorfearwheresuchmaterialsareassociatedwith judgmentandcriticism(eg, youhavenoskillinart) Itwouldbeinappropriateforasocialworkertousevisualartsinhisorherworkwithclientswithouthavingknowledgeofsuchmethodsthemselvesandofthereasonswhy clientsmightnotaccepttheuseofvisualartsintervention Makinguseofvisualartsmediaandmethodswithoutsufficientknowledge,skill,andtrainingtodealwiththecomplexhumanproblemsthatsocialworkersexperiencein theirpracticescanpresentrisksandbeharmfulforclients(Damianakis2007)Theymayevenbeprofessionallyirresponsible(Reamer2004) Socialworkersusingneworexperimentalmethodshavealwaysneededtoconsiderhowtheywouldprotecttheirclientsandprovidesufficientinformationforclientssotheycanchoosewhetherornottoconsentwhenintervention involvesanapproachormethodsthattheydonotagreewith However itisalsousefulanddesirableforprofessionalstoinnovateandtotrynewinterventionmethodsthatmightresultinbetteroutcomesfortheirclients AsHocoy (2006)notes,justaswiththepioneersofarttherapy,itispossibleforprofessionalstocomplementtheirknowledge,buildskills,andlearnaboutintegratingtheartstohelppeople throughreading,workshopsandlocalpractitioners (p 134) Goodsupervisionandconsultationwithexperiencedandknowledgeablepractitionersisinvaluableforsocialworkerswhowishtoaddnewcomplementarymethodssuchasdrawing painting andcollageworktotheir practices Currently,thevisualarts(andotherartforms)areusedbysocialworkpractitionersandhavebeenfoundeffectiveinhelpingpeoplewhoseissuesandsituationsrequire,orrespondbestto,alternativemethodsoftreatment For example drawing painting collage andothercreativemethodshavebeenhelpfulwhenusedwithgroupsofvulnerablechildreninvolvedinthementalhealthandchildprotectionsystemsinOntario Canada(Coholic Oystrick Posteraro,&Lougheed,2016) Therangeofissuessuchchildrenhadandthedifficulthomeenvironmentstheyhadexperiencedresultedinpoorself-esteemandconfidence AsCoholic,Oystrick,Posteraro,andLougheed(2016) describeameanstobuildthechildren’sstrengthsandsocialskillswasneededandarts-basedactivities(withamindfulnessapproach)offeredanalternativethatsuitedthechildren’sneeds

EphratHuss,anIsraelisocialworkerandarttherapist,hasproducedabook(2013)andauthoredandcoauthoredarticlesonsocialworkpracticeandtheuseofvisualartsinindividualandgroupworkwithchildrenandadults(eg, Huss&Ben-Gurion 2014;Huss Elhozayel &Marcus 2012;Huss Nuttman-Shwartz &Altman 2012;Huss Sarid &Cwikel 2010) Shehaswrittenaboutusingvisualartsmethodstohelpchildrenwhoexperienceddisaster womenaffectedbyabuse,andwomenwithrefugeeexperiences Infact,therearemanypeoplewhosesituationsandissuescouldbeaddressedthroughparticipationinvisualart-making,andsocialworkersmayfinditbeneficialto introducetheseintheirpractices

HussandBen-Gurion(2014)describehowdifferencesinwaysofseeingandspeakingaboutartworkcanoccurduetovaryingprofessionalbackgroundsandtrainingForexampleavisualartistwouldlikelyappreciatetheartfrom anaestheticorientation,lookingatcomposition,color,andtechnique,whereasasocialworkerwouldlikelywanttoknowaboutthesocialandculturalaspectsoftheartandthemeaningattributedtoitbythepersonwhocreateditOn theotherhand arttherapists particularlythosetrainedinpsychotherapy mightdrawfrompsychologicalconceptsandtheoriesandusesuchaknowledgebasewhenworkingwithanartistandherorhisartwork Damianakis(2007) notesthatitisbeneficialforsocialworkpractitionerstounderstandtheperspectiveandorientationofartprofessionalssothattheycanlearnfromthemabouthowsocialworkvaluesandperspectivesdifferorintersectwiththoseof artistsShestatesthatitwouldthenmakeitpossible“togenerateinsightsthatinturncontributetosocialworkpracticesandknowledgebases”(p525)Socialworkerscanbetterunderstandwhattheartscancontributetotheirwork andhowtheymightbeusefulinvariouspracticesettingsandsituationsHowever,asDamianakis(2007)suggests,thesocialworkprofession’shumanisticandcreativeelementshavenotledtoacommittedengagementwiththearts insocialworkpractice Incontrast,itseemsthatthedrivetoapplyevidence-basedpracticesandtechnicalsolutionstopeople’scomplexproblemshasovershadowedsocialwork’screativepotential Forexample,USsocialwork educatorPatriciaWaltonnotesthatsheseesmuchrichnessandrangeinapplicationsoftheartsinotherhumanserviceprofessionsSocialwork“remainsentirelyfixedontalkandtext”(2012p725)Shequestionswhythisshould bethecasewhensocialworkrequirescreativitytoworkincomplexandoften-changingpracticesituations Further,theneedtofosteremotionalexpressionaspartofworkwithclientsshoulddirectsocialworkerstothepotential poweroftheartsinpractice Walton(2012),inherapplicationofvisualartswork(collage)withstudentsinsocialworkfieldplacements,foundthatusingvisualexpressionasastartingpointledtodeeperawarenessinwhichthestudentswereableto more whollyacknowledgetheirownfeelings,responsesandreactions,includingdoubt,ambivalence,disapprovalanddiscomfort”(p736)Althoughreferringprimarilytocreativewriting,Damianakis(2007)stressesthatartmay“disrupt theworker’srelianceonconventionalroutinesandsocialnormsandtofacilitatesurpriseandinnovation”(p530)

Insocialworkpracticewherevisualartsareused,thereisoftenagreaterfocusontheprocessofart-makingasameansofindividualandcollectiveexpression,transformation,andempowerment,althoughtheartworkproduced mayhavesignificanceaswellClientswhoparticipateinvisualart-makingmayexperiencedisseminationoftheirartworkinsmallgroupsorinpublicsettingsasempoweringWhenissuesthataffectagroupofpeoplewhoexperience stigmaarepresentedintheformofanexhibitionofartworkproducedbythegroup,dialogueandgreaterunderstandingmayresult ThiswasthecaseinHongKongduring asystematicartsdialogue amongpeoplelivingwith mentalillnessandthosefromthegeneralpopulation”(Ho Potash Ho Ho &Chen 2017 p 479) Acollaborativeart-makingactivitygeneratedopportunitiesforeducation discoveringcommoninterestsandgoalsandfostering publicawarenessaboutmentalillness

Anexampleofvisualartsusewithagroupofpeoplelivingwithcancerfollows ItisbasedonareportproducedbyDonStevensforhisfinalarttherapydiplomaprojectin2013 Asafineartsgraduate,Donhadpastexperience withmakingartandinfacilitatinggroupsofpeoplewhowantedtoparticipateinmakingtheirownartworktoenhancetheirwell-being ArtTherapyinaHealthCareSetting:DonStevens,HalifaxArtTherapist

DonStevensisanarttherapistfromNovaScotiawhohasagreedtohavehisgraduateworkhighlightedasanexampleofvisualartswithgroupsofpeoplefacingserioushealthchallenges Hemadeuseofgroupworkinhispractice becauseitfitwiththeneedsoftheclientsandthepurposesofhispracticeworkGroupworkusingcreativemethodsisnotnewRuthMiddleman,anAmericansocialworker,wrotein1968about thenon-verbalmethodinworking withgroups”anddescribesthepoweroftheimaginationandcreativeprocessingroupworkasimportanttoexplorebecauseitisapartofhumanlife(Middleman1968) AsDondescribes, Twogroupswerecomprisedofpeoplelivingwithchronicpainwhiletheotherwasmadeupofpeoplelivingwithcancer Theclientsdevelopedtheirownstrategiesforresiliencebymanipulatingsimpleart materialsandsharingtheirexperiencesinanopenstudioenvironment”(Stevens,2013,p ii) Bothhealthandmentalhealthcareserviceshavenotedthesignificanceofartforclients’recovery(Bates,Bleakley,&Goodman,2014; CollieBottorff&Long2006;Malchiodi2013;SeckerLoughranHeydinrych&Kent2011)

DondrawsonWinnicott(1971)toexplaintheimportanceofaholdingspaceforpeoplewhoengageintherapeuticart-makinginorderto“feelfreetoexpressthemselvesthroughcreativeplay”(Stevens,2013,p 4) Forpeople livingwithpainanduncertainfutures itisimportanttooffersuchaspaceandtobeopentoindividualandgroupneedsandinterests Inthisspace everyonewasaccepted andallart-makingeffortswereappreciated Donwas sensitivetothefactthat manyhadmobilityissuesinadditiontochronicpain,fatigueandillness (2013,p 12) Inthetherapeuticsetting, [a]leveloftrustwasestablishedthatallworkwashonoured,respectedandfreefrom judgment”(2013 p 14) AsDonexplained thosewhowerelivingwithcancercanfeelasenseofbelongingandcaringforoneanotherinthegroupastheywerelivingwithchallengesthatallcouldrelateto despitedifferentviews andbackgroundsTheclientslearnedfromoneanotherandfromtheartprocessastheyspenttimetogetherinthegroupsessions

InDonStevens’swrittenwork,hedescribesindividualgroupmembers’situationsandshowstheirartworkwithtitlesgivenbythegroupmembers Theweeklyart-makingsessionsheldovera10-monthperiodwereopportunities fortheparticipantstoexploretheirideas feelings andexperiences addressingdifferentthemesandinterests Giventhelongtermofthearttherapy Donheardpoignantstoriesofthegroupmembers’liveswithcancer Healso experiencedthedeathofonemember,whichmotivatedhimtocreatehisownartworkinresponseThepracticeofprofessionalsmakingtheirownarttoexpressand contain emotionsthatarisefromtheirpracticeworkwithclientsis notuncommoninarttherapy(Fish2012)ItcanofferinsightsthatenhancepracticeandofferameanstomakesenseoftroublingsituationsHoweverasDonnotesmoreresearchisneededonself-careforpractitionerstolearnabout theusesandoutcomesofart-makingforthemInfact,manyarttherapistsbelievethatisimportantforthemtoengageinart-makingthemselvesbecauseitisessentialtotheirprofessionaldevelopmentandwell-beingBrown(2008) asserts“Administratorsoftheagencieswherecreativeartstherapistsworkalongwiththeircredentialingbodiesandnationalorganizationsshouldtakenoteofthisandcreatestandardsofpracticethatsupportthis”(p207) DonStevensalsoworkedwithagroupofpeoplewholivedwithchronicpain Theyusedart-making,drawingfromarangeofmedia,toexpresstheirideasandfeelings Oneoftheseisentitledthe“self-box”inwhichclientscan depictwhattheypresenttotheoutsideworldontheoutsideoftheboxand,ontheinsideofthebox,theirinnerthoughtsandfeelingsTheuseofthisexercisehasbeendescribedbyFrings-Keyes(1974,p14)asaself-helpmethodto learnaboutoneselfandtoexperiencemakingavisualrecordwithartmaterialsThosewhopracticeusingartwithclientscanthemselvesbenefitfrompaintingdrawingorothermethodsofart-making(Frings-Keyes1974;Stevens 2013,p53)

Adiscussionoftheconceptof“safespace”(Oster Aström Lindh &Magnusson 2009)isuseful AsDonstates “Ihavefoundthatsomeclientsinsistthattheyneverreallyfeelsafe soIdon’tfeelcomfortableinimposingthat labelonthemIsupposeIwouldpreferforthedescriptiontoarisemoreorganically (2013,p54)Heinfersthatitisbetterthatclientsthemselvesexplorewhatasafespacemightmeanforthem,ifanythingItispossiblethatsome peopledonotfeelasenseofsafetyduetotheirpastexperiencesoftraumaorsomeotherfactorsTheymight,however,beabletoidentifywhethersuchaplacecouldbeimaginedorconstructedinsomeway CommunitiesasSitesofVisualArtsApplication

Incommunityorganizations,visualartsprojectshavehelpedtobringyouthandothergroupsofpeopletogethertotakepartinart-makingforsocialchangeonissuesofconcern,suchasbuildingstrongerneighborhoods,promoting careoftheenvironment andconfrontingviolenceandracism Therearedifferencesinpurposeandapproachintheuseoftheartsforindividualandgrouptherapy ononehand and ontheotherhand incollectiveprojectswhere socialjusticeisthemaingoalYetthereareimportantconnectionsbetweenthesethathavebeennoted(eg,Hocoy,2007;Levine&Levine,2011;Moxley&Washington,2013) Estrella(2007)notesthataprocessofsocialchange maystartwithindividualsgroupscommunitiesorinasocietyShestates“Individualeffortstobecomemoreculturallycompetentandtolerantmoresociallyandpoliticallyawareandactivetakingmorepersonalresponsibilityfor onesbehavior,ordevelopinganinnercontemplative/spiritualpractice,areallpotentialformsofsocialaction (p47)

SeedsmaybeplantedwithinanindividualthatcanleadtotransformativechangewithinandbeyondtheindividualPeoplemightthentakeactionontheirown,forexample,bywritingorspeakingoutonanissueofimportanceto them,ortheymayformlike-mindedgroupswithasocialagendathattheywishtopursue Invisualartstherapies,discoursehascenteredonindividualorgroupwork,lessoncommunityorsocialchange Thisislikelybecausethe pioneersofthesetherapies,practicingandwritingfromthetimeofWorldWarII,tendedtobepsychiatristsandpsychologistswhoseworkdrewonmicro-leveltheoriesofprofessionalpracticeinthesefields(Hogan,2001)Thereisa paucityoftheoriesinthearttherapyprofessionthatconnectarttherapytogetherwithsocialaction(Hocoy2007)althoughsomearttherapists(eg LeBaron2011)havenotedthedualrolesof“socialactivismandrestorativework” thatexistintheexpressivearts(p10)ThepotentialforaninterdisciplinaryapproachinpracticeandeducationbetweenartandsocialworkhasbeendiscussedbyWehbi,McCormick,andAngelucci(2016),whostatethatsocialwork needstoinnovateandfindotherwaysofprovidingservicesthantraditionalcounselinginterventions Theydescribehowengagingwiththearts(sociallyengagedart[SEA])canhelpsocialworkerstomeaningfullyworkforsocial justicegoalsalongsidecommunitiesThroughdevelopingacoursethatcombinedsocialworkandart,Wehbiandhercolleagues(2016)aimedtoinvolvestudentsinaprocessofcriticalquestioningandcreativeexplorationthatwould leadtocollaborativeexchange,communityengagement,andenhancedcreativity Likethem,weconcurthatarts-informedsocialworkpracticecanoffernewwaysofworkingwithpeoplethatcanleadtorewardingandeffective results Withtheincreasingproliferationofonlinemediatechnologiesandapplicationsforcommunicationofawiderangeofissuesofconcerntodifferentgroupsinsociety,itispossibletodisseminateimagesproducedtomanypeopleall

atonce Forexample theuseofcommunitycollagemuralsfordiscussionsonecologyandgreencommunitiesisdepictedonawebsiteathttp://collagemuralprojectblogspotca/ Theformatispublicandwelcomingtothosewho approachitonlineoratthephysicalsiteswherecollageandmural-makingeventstookplaceinLondonandCapeTown,SouthAfricaTheeventsbeganinformallywithyouthandotherpeopletakingpartincollage-makingusingold magazinestodepictideasaboutclimatechange,atopicofconcerntothosewhoparticipatedinitInLondon,theprojectproceededfromweekendcollagesessionstoagalleryexhibitionThecreativepotentialtodevelopcommunities throughcollectiveart-makingandthespreadofsuchprojectstoothergroupsandpartsoftheworldillustratesthepoweroftheartstocommunicateandcatalyzepeoplewhoaimforajustsociety Chapter4describesinmoredetail somepossibilitiesandexamplesofthese

SocialworkconceptsandtheoriescancontributetosocialactionorsocialtransformationgoalsForexampleBobMullaly(2007)callsforsocialworkerstoseethatpeople’stroublesandsituationsarelocatedandrootedinasocialstructuralcontextthatischaracterizedbyinequality,injustice,poverty,oppression,andmarginalization

SocialworkerDavidMoxley(2013)haswrittenthatamonggroupsofpeopleexperiencingoppression art-makingcontributestosurvivalofthegroup(throughitseffectsoncohesion)andmakesitanactofself-definitioninthe faceofoppressionandmarginalizationArt-makingmayemergewithinagroupasitsprincipalsourceofpleasure,interpretationoftheworld,andcoping(p237) Inanotherpublication,MoxleyandWashington(2013)describetheimpactofart-makingonagroupofAfricanAmericanwomenwhowantedtoovercomehomelessnessTheauthorsfoundthatmakingartwasimportantnotonly forexpressionofemotionalanddifficultexperiencesbutalsoforthediscoveryofcommonthemesandthedevelopmentofgroupstrengthandcohesion whichledthewomenfromaprocessofarts-basedexpressiontocommunity action Illustrationsandexamplesfromarts-basedpracticeandresearchinsocialworkbothfromtheliteratureandinpractitionerexperienceshowthewaysinwhichcommunitysettingshaveofferedpossibilitiesfortheuseofvisualarts–basedmethods Whatfollowsisanexample,basedonaninterviewwithayoungartist,ofthewaythatvisualartshavebeenusedtoenhanceIndigenousandotheryoungpeopleslives Althoughthepractitionerwhoseworkis representedisnotasocialworkersheworksinacommunityserviceorganizationandtheworkshedoesiscomparableandrelevanttocommunity-basedsocialwork;thusitcouldofferlessonsandpracticeideasforsocialworkers EXAMPLEOFANARTPROJECTFORCOMMUNITYSOCIALCHANGE:JESSICACANARD,COMMUNITYARTIST

FormerCanadianLieutenantGovernorMichaëlleJeanandhercochair,JeanDanielLafond,embarkedonamissiontousethearts toempowerunderservedyouthtotransformlivesandrevitalizecommunitiesinCanada (see http://wwwfmjfca/en/)Throughtheirorganization,theMichaëlleJeanFoundation(MJF),theyfocusonusingtheartstopromotedialogue,communitymobilization,andsocialchange,andmanyyoungpersonshaveusedcreativity ofthearts“tobuildnewsolutionstopressingissuesaffectingthem Theseyoungleadersareprovingthattheartscanchangelivesandgivehopetocommunitieshitbysuchchallengesasviolentextremism,thedisproportionate incarcerationofminorityyouth,delinquency,violenceandsuicide”(http://wwwfmjfca/en/about-us/) OneoftheyoungpeoplewhoreceivedassistanceandmentorshipthroughtheorganizationisJessicaCanard,whorelatedhow importantarthasbeeninheryounglifeShewasacceptedintoWinnipeg’sGraffitiGalleryUrbanCanvasProgramin2009EightyoungAboriginalartistswereselectedandfinanciallysupportedtotakepartina48-weekintensiveart internship AsJessicasaid, ItwasthekindofmentorshipIwaslookingforanditwasreallylikeIwaslivingmydreamalready Theyhadprofessionalartistswhohavebeentoschoolsinothercountriestolearnaboutart;[they shared]whatthey’dlearnedwithus”

JessicalaterparticipatedinotherinitiativeswhereshecombinedvisualartandsocialchangeactivitiesIn2011,newopportunitiesarosethatsheembraced: IwasapartofGraffitiArtProgrammingAboriginalYouthAdvisoryCouncil(GAPAYAC),andin2011wehostedaneventcalledVoicingYouth’sRightstotheCity Itinvitedyouthfromdifferentschools,professors,governmentofficials and communitymemberstoparticipateThisiswhereIfirstmetthe27thGovernorGeneralatthetimeMichaëlleJeanWetalkedaboutsafetycityplanninganditseffectsonhealthaswellashowmuchaccessweasyouthhaveinmakingdecisionsinour communitiesThemembersofGAPAYACcreatedartpiecesonourviewsoflivinginWinnipegIsoldtheartpieceImadefortheeventtotheMichaëlleJeanFoundation(MJF)Theartpieceistitled“Untitled2011”andisamultimediapiececreatedon adoorSkateboardswerejigsawedtolooklikeacityscapeThebuildingslookedliketheonesyou’dfindintheExchange[StockExchangeDistrictofWinnipeg]Streetsshootoutfromthecityscapelikesun’srays,withthebusnumbersthatIusemost stencilledonthetopTheFoundationpartneredwiththeCanadianMuseumforHumanRights(CMHR)todisplaymyartworkattheirheadoffice I[have]continuedmakingartanddoingalotofcommunity-buildingworkthroughtheGraffitiGalleryIn2013IwasaskedtogiveatestimonialatthefirstPoweroftheArtsNationalForumheldatCarletonUniversity[where]Italkedabouthowthe artsimpactedmylifeaswellasthepartnershipbetweentheMJFandtheCMHR

Jessicareferstoherselfasavisualartistandproduceslargepaintings,forexample,muralsShereferstoherstyleas“bright,bold,andcolourful”Sheexplainedthatsheisparticularlyinterestedinartassocialcommentary“forthe peoplewhoareinthestreets”Jessicaviewsthiskindofartasaccessibleanditspurposeistocommunicateideasandopinions Shealsoseesstreetartasanalternativetothepaidadvertisingofbusinesseswiththeresourcesto promote“theirmessages,products,andservices Sheadds,“Streetarttomeisawayofsubvertingtheideathatyouhavetopaytosharevisually Shealsobelievesthatartistsneedmoreconstructivechannelstomakeart,suchas throughmuralfestivals

JessicadescribedaprojectinWinnipeginwhichshehasbeeninvolved:

IworkalotintheNorthPointDouglasarea[intheinnercityofWinnipeg],andoneofthepublicartprojectsIhadtheopportunitytoworkonisthecommunityovenlocatedinMichaëlleJeanPark Thecommunityovenwasanideabroughtoverfrom VancouverandtheleadartistontheprojectwasLeahDecterIttookthewholesummerof2012forateamofeightofustodesigncreateandinstallatilemosaicaroundthewholeovenThecommunityovenisanoutdoorovenheatedbyfirethattakes fourhourstoheatupYoucancookalldaylonginitThecommunityovenwasaprojectinitiatedbytheNorthPointDouglasWomen’sCentreNPDWCandGraffitiArtProgrammingweretheoneswhoaddedthecreativeelementsofatilemosaicThe NPDWChostscommunitypizzanights,culturalbreadnight,andtrainingnightsforpeoplewhowanttolearnhowtousetheovenThesefoodmaking eventsareforanyoneinthecommunity Itstocelebratethecommunityandthepeoplewho makeitup Duringtheseeventsartprojectsarehappeningalongsidethefoodmakingbecausewhynotmakeartanddeliciousfoodtogether?

Jessicareferstoartasameansto“beautifyandbuildstrongercommunities Artisn’tjustcraftsandwhatyoudoinyourfreetime it’saserioustoolforcreatingchange It’sfortheindividualwhomakesartfortheirown personalgrowth,asawaytoconnectwithothersandtheworldaroundthem

Artcanhelptobreakdownthealienationexperiencedbypeoplewhohavebeenmarginalizedinsociety TheGraffitiGallery Jessica’semployer providesyouthaccesstocreateartontheirownterms AsJessicasays “the organizationalsopartnerswithmanylocalagenciesservingyoungpeople tooffercreativeopportunitiesandeventsforthem Sheexplainedthat,atarecentevent,staffattheorganizationaskedyouthwhatkindofpersonsthey wantedtobewhentheygrewup:“Forexample,doyouwanttobeacaringpersonorahelpfulperson?”Jessicasaidthatthisapproachwasverydifferentfromthepressureinvolvedwhentheywereaskedwhattheywantedtobewhen theygrewupShedescribedwhatoccurrednext:

Theyouththenwroteaboutthekindofpersonstheywantedtobe;theydrewwheretheysawthemselvesinafewyears;andtheyalsodidsomedramaactivitieswheretheydressedupastheirfutureselvesVideosweretakenofthemastheirfutureselves thatwerethenturnedintohologramsandeverythingtheyouthcreatedwasdisplayedatthegalleryOver100youth[tookpart]anditleftmewithhopeforthefutureHere[were]allthesepeople,youngerthanme wantingtomaketheworldabetter placeforthepeoplearoundthem

Forpeoplewhohaveexperiencedoppressionracismexclusionpainand/ortraumatherecanbegreatsignificanceattachedinpresentingtootherstheirworksofartproducedontheissuestheyhavefacedApublicexhibitionof visualartbythosewhoaretroubledorwhohavebeensociallymarginalizedcanrepresentavalorizationoftheiridentity,struggles,andeffortstowardhealingandgrowthForexample,inrelationtoaprojectwithparticipantsaffected bywarart-makingaccompaniedbyanexpressivewritingactivitywasused(Stepakoffetal 2011)InthisprojecttheIraqisurvivorsoftortureandwarthatStepakoffandassociates(2011)wroteaboutgainedtheabilitytocopewith individualpainandtraumabysharingandbeingacknowledgedbyotherswhohadlivedthroughsimilarexperiencesThroughsharingtheirartwithothers,theparticipantsenhanced publicawarenessoftherealitiesofsufferingand resilienceamongIraqiswhohavebeenforcedtoseekrefugeinotherlands”(p 142) Suchactsrequiretrustintheexpressiveartstopromotehealing,couragetotakepartintheprocessofart-making,andthedesiretocommunicate throughandabouttheartwithawideraudience

USEOFVISUALARTSMETHODSINRESEARCH

Recentbooksthatdescribearts-basedresearchbysocialworkscholarsandthoseinotherprofessionalhumanservicefields,suchaseducationandpsychology(eg,Bryant,2016;Butler-Kisber,2010;Knowles&Cole,2008;Leavy, 2015;McLean&Kelly 2010;Sinding&Barnes 2015) demonstratethemanywaysinwhichvisualandotherexpressiveartsmethodscanbeframedandappliedandhowsuchmethodscanoffernewperspectivesandinsightsin researchInsocialwork,thereisemerginginterestinapplyingarts-basedmethodsinqualitativeresearch

Visualartsareviewedasqualitativeresearch,andinsocialworkinquiryitoftenappearsintheformofphotovoice,inwhichresearchparticipantsusuallytakephotographsrelatedtotheresearchtopicandlaterdiscussthemwith otherparticipantsandtheresearcherBoththephotosandthenarrativescomprisedata(eg Harley&Hunn2015;LewinsonRobinson-Dooley&Grant2012)(ThesearediscussedinmoredetailinChapter4) Drawingandpaintingarenotoftenseeninsocialworkresearchprojects,althoughtheymaybeusedasameansforgeneratingideasorincludedinagroupprocesssuchasdrama,storytelling,orreflection(eg,McGillicuddy, Cross Mitchell Halifax &Plummer 2015;Paton 2015) CollageasamethodinqualitativeresearchhasbeendescribedbyButler-Kisber(2008 2010)asanappealingartforminwhichelementssuchasimagesandtextare positionedonasurface asawayofexpressingthesaidandunsaid,andallowsformultipleavenuesofinterpretationandgreateraccessibility (p268)Theimages,texts,andothermaterialsonacollagesurfacecomprisedatawhich alsorequiresinterpretationfromthepersonwhocreatedthework Theprocessofmakingacollageinvolvesplacingfragmentstogethertoexpressideasandfeelings Sometimesthroughtheprocessofreflectingordiscussingthe collage,previouslyunspokenideasandinsightsarisethatresultinnewunderstandingandknowledgeabouttopicsbeingdiscussed Butler-Kisber(2010)notesgreaterinterestincollageinresearch(andinteaching,supervision, practice,andartjournaling),makingitlikelythatcollagewillcontinuetobeprominentinarts-basedsocialresearchinthefuture Whencollageisusedforpractice(exploration,expression,and/orhealingforindividualorsocial change)theaimistherapeutic;whencollageisusedtoexploreoransweraquestionitisusuallyconductedforresearchpurposes(Chilton&Scotti2014) Useofcollagecanbehelpfultosocialworkandotherhumanservicepractitionerswhereitoffersameansofexploringissuesanddifficultexperiencesaswellaspossibleresolution HelenLandgarten,inClinicalArtTherapy (1981)developedthemagazinephotocollageprocessforusebyprofessionalsinthefieldofmentalhealthasatoolforassessmentSincethattimenewwaysofusingcollagebyprofessionalshavebeendevelopedmostlyforpractice interventionThemethodhasbeenshowntobeusefulinreminiscencetoreviewmemoriesormakesenseoflifewitholderadultslivingwithdementia,whereverbalcommunicationcanbeaugmentedbycollage-making(Woolhiser Stallings 2010) Provisionofprecutimageslabeledaccordingtoatheme(eg workplaces sports etc)ishelpfulbecauseitofferschoiceinimageselectionthat formanyexperiencingdementia maybelimitedindailylife The selectionofimagesshouldbedonebythepersonswhoareparticipatingintheactivitybecauseeachpersonhasuniqueassociationswithdifferentimages,colors,andthemesCollage-makingcanalsohelpinpromotinginterpersonal communication(WoolhiserStallings,2010)Someassistancebyacaregivermightbenecessarywhenclientsarechallengedinmanipulatingmagazineimagesorglue Inresponsetoathemeorquestionposedbyapractitioner(groupworkertherapistcommunityworkerorsocialworker)thosewhoarebeingprovidedwithservicesparticipateinacollageexerciseMaterialssuchasimagesand wordscutfrommagazinesornewspapers,glueandscissors,andtimetocompletetheexerciseareprovidedbythepractitioner Anindividualorgroupselectsfromavarietyofcompiledmagazineorprecutimagesandwords, assemblingandgluingthemdownonapieceofpaperorothergroundintoacompletedcollage Thepointisnottofindanimagethatexactlyfitswithone’sideaorexperience butonethatisametaphor symbol orcolorthat representsit Mostofuscanimaginewhatthesemightbeforourselves Forexample,povertymightberepresentedbyanoldgrayshack,anemptybowl,orapersonlookingdownattheground Socialclinicalpracticediffersfrom inquirybecausebothhavedifferentpurposes Withgraduatestudents,Ihaveusedsuchexercisestoexplorewiththemthetransitionstheyexperiencedintheacademicsettingorkeypointsintheirpastyearofstudies Thestudents werealsoencouragedtocombinecollage-makingwithpastels,markers,orpencilcrayons Thismethodwasparticularlyusefulwhenthestudentwasinterestedinusingtheartsforexploringtheirstudyprogress;however,notall studentswere

CollageisalsousefulforprofessionaldevelopmentTheopportunitytofocusonself-reflectionandexpressioninrelationtoprofessionalissuesandemotionsthatariseinthecourseofatryingweekcanbehelpfulIhavefoundthat collage-makingoffersanopportunitytocreateorder,harmony,andreflectionthatreachesbeyondworklifeandrestoreswell-beingandeffectiveness AsshowninFigure31),oneofthecollagesthatIproducedrecentlyaftera particularlychallengingandtiringweekprovidesasenseofpeaceasIviewitandthinkofthesignificanceoftheimagestexturesandcolorstome

Figure31RocksandskyCollagecourtesyofTuulaHeinonen

CONCLUDINGTHOUGHTS

Chambon(2009)statesthatthereisarolefortheartsinsocialworkresearchSocialwork canbenefitfromencounterswithpracticesofarttotheextentthatsuchpracticescanpointtoandquestionwhatisperceivedasnaturalways ofrelatinginsociety homelessness,precariouslivingconditions,unequalaccesstovariousformsofcapital,appropriationofandexercisingknowledge”(p600)Inotherwords,thetwodividesofpractitionersandclientsaremore clearlyseenasrelatedandinterconnectedinsociety

Visualartmethodsofferimportanttoolsforpractitionersand,increasingly,forresearchers Creativityisanavailableresourceforhumanbeingsandcanoffertosocialworkerscomplementarymethodsthatfosterindividualand socialtransformationforindividualsandgroupsofpeopleexperiencingpainsufferinglonelinessoppressionandsocialexclusionatdifferentperiodsinlifeThisisnotanewideaforthoseinhumanservicesincludingsocialwork sincetheartshavebeenappliedforalongtimebyprofessionalstofostereducation,expression,andwell-beingamongclients,oftenwithoutmuchdocumentationSocialworkers,inworkingwithpeopleneedingservicestolivewith, recover andtransformfromtheeffectsofindividualdistress familyconflict troublingissuescommontospecificgroups orproblemsthatoriginateinacommunity wouldfindithelpfultointegratearts-basedmethodsintotheir practiceDrawing,painting,andcollagingcanhelppeopleexpresswhatisdifficultorunspeakableinawaythatcanrepresentatentativeideathatisbeingexplored,astatementofneed,anangryscream,oraforcefulvoicethatseeks tobeacknowledgedandunderstoodAllthesecanbebeneficialtothosewhoproducetheartandthosewhoviewandrespondtoit

QUESTIONSFORREFLECTION

1 Haveyouusedvisualarts–basedmethodsinyourpractice?Ifsohowhasitshapedthewayinwhichyouwork?

2 Whatbarriershaveyouobservedinsocialworkers(oradifferenthumanserviceprofessionthatyoubelongto)complementingtheirpracticewithvisualartsmethods?

3 Inyourownworkwithpeoplehowdoyouthinkthevisualartscangenerateindividualchange?

4 Howmightvisualartsmethodspromoteorleadtosocialchange?

5 Whatdoyouseeasthebenefitsandpitfallsofusingvisualartsmethodsinqualitativeresearch?

RESOURCES

Breastcancersurvivorshealthroughart:https://wwwyoutubecom/watch?v rXPwg7MjFc MichaëlleJeanFoundation,regardingsocialinnovation:http://wwwfmjfca/en/programming/social-innovation/ ThePainterofJalouzi,avideoaboutcolorintheslumsofHaiti:https://wwwyoutubecom/watch?v Eyr9NwyszNYandhttp://myhappifycom/hd/artist-bringing-joy-to-his-community/ Paintingintwilight:Anartist’sescapefromAlzheimer’s:https://wwwyoutubecom/watch?v=ITe-s6M4qc

REFERENCES

BatesV BleakleyA &GoodmanS(Eds)(2014)Medicinehealthandthearts:ApproachestothemedicalhumanitiesAbingdonOxon:Routledge BrownC(2008)Theimportanceofmakingartforthecreativeartstherapist:AnartisticinquiryTheArtsinPsychotherapy,35(3),201–208 BryantL(2016)CriticalandcreativeresearchmethodologiesinsocialworkFarnhamMA:TaylorandFrancis Butler-KisberL(2008)CollageasinquiryInGKnowles&ACole(Eds)Handbookoftheartsinqualitativeresearch(pp265–276)ThousandOaksCA:Sage Butler-Kisber,L(2010)Qualitativeinquiry:Thematic,narrativeandarts-informedperspectivesThousandOaks,CA:Sage ChambonA(2009)Whatcanartdoforsocialwork?CanadianSocialWorkReview26(2)217–223 ChiltonG,&Scotti,V(2014)Snipping,gluing,writing:Thepropertiesofcollageasanarts-basedresearchpracticeinarttherapyArtTherapyJournaloftheAmericanArtTherapyAssociation31(4),163–171 Coholic,D,Cote-Meek,S &Recollet,D(2012)Exploringtheacceptabilityandperceivedbenefitsofarts-basedgroupmethodsforAboriginalwomenlivinginanurbancommunitywithinnortheasternOntario CanadianSocialWorkReview,29(2),149–168 Coholic,D OystrickV,Posteraro,J,&Lougheed,S(2016)Facilitatingarts-basedmindfulnessgroupactivitieswithvulnerablechildren:AnexampleofnondeliberativesocialgroupworkpracticeSocialWorkWithGroups,39(2–3),155–169 CollieK BottorffJ &LongB(2006)AnarrativeviewofarttherapyandartmakingbywomenwithbreastcancerJournalofHealthPsychology11(5)761–775

DamianakisT(2007)Socialwork’sdialoguewiththearts:EpistemologicalandpracticeintersectionsFamiliesinSociety:TheJournalofContemporarySocialServices88(4)525–533 Estrella,K(2007)Socialactivismwithinexpressivearts therapy:Whatsinaname?InFKaplan(Ed)Artsinaction:Expressiveartstherapyandsocialchange(pp42–52)London,UK:JessicaKingsley FishB(2012)Responseart:TheartofthearttherapistArtTherapy:JournaloftheAmericanArtTherapyAssociation29(3)138–143doi:101080/074216562012701594

Frings-Keyes,M(1974)Theinwardjourney:ArtaspsychotherapyforyouMillbrae,CA:CelestialArts

HarleyD,&Hunn,V(2015)Utilizationofphotovoicetoexplorehopeandspiritualityamonglow-incomeAfricanAmericanadolescentsChildandAdolescentSocialWorkJournal,32(1),3–15

Ho R T H Potash J Ho A H Y Ho V F L & Chen E (2017) Reducing mental illness stigma and fostering empathic citizenship: Community arts collaborative approach Social Work in

469–485 doi:101080/1533298520161236767

HocoyD(2006)Arttherapy:WorkingintheborderlandsArtTherapy:JournaloftheAmericanArtTherapyAssociation23(3)132–135doi:101080/07421656200610129621

HocoyD(2007)ArttherapyasatoolforsocialchangeInFKaplan(Ed)Arttherapyandsocialaction:Treatingtheworld’swounds(pp21–39)LondonUK:JessicaKingsley Hogan,S(2001)Healingarts:ThehistoryofarttherapyLondon,UK:JessicaKingsley HussE(2013)Whatweseeandwhatwesay:UsingimagesinresearchtherapyempowermentandsocialchangeNewYorkNY:Routledge Huss,E,&BenGurion,HM(2014)TowardanintegrativetheoryforunderstandingartdiscoursesVisualArtsResearch,40(2),44–56 Huss,E,Elhozayel,E,&MarcusE(2012)ArtingroupworkasananchorforintegratingthemicroandmacrolevelsofinterventionwithincestsurvivorsClinicalSocialWorkJournal40401–411 HussE Nuttman-ShwartzO &AltmanA(2012)Theroleofcollectivesymbolsasenhancingresilienceinchildren’sartTheArtsinPsychotherapy3952–59 Huss,E,Sarid,O,&Cwikel,J(2010)Usingartasaself-regulatingtoolinawarsituation:AmodelforsocialworkersHealth&SocialWork35(3),201–209

KnowlesG &ColeA(2008)HandbookoftheartsinqualitativeresearchThousandOaksCA:Sage KramerE(1971)ArtastherapywithchildrenNewYorkNY:SchockenBooks Landgarten,H(1981)Clinicalarttherapy:AcomprehensiveguideNewYork,NY: Routledge LandgartenH(1987)FamilyartspsychotherapyNewYork:Brunner/Mazel Leavy,P(2015)Methodmeetsart:Arts-basedresearchpractice(2nded)NewYorkNY:TheGuilfordPress LeBaronM(2011)Foreword:Eureka!DiscoveringgoldinaleadenworldInELevine&SLevine(Eds)Artinaction:Expressiveartstherapyandsocialchange(pp9–18)LondonUK:JessicaKingsley Levine,E,&LevineS(Eds)(2011)Artinaction:ExpressiveartstherapyandsocialchangeLondon,UK:JessicaKingsley Lewinson T Robinson-Dooley V &Grant K (2012) Exploring home throughresidents lenses:Assistedlivingfacilityresidentsidentifyhomelikecharacteristicsusingphotovoice

doi:101080/016343722012684758

Malchiodi,C(2013)Handbookofarttherapy(2nded)NewYork,NY:TheGuilfordPress

McGillicuddy P Cross N Mitchell G Halifax N D &Plummer C (2015) Makingmeaningofourexperiencesofbearingwitnesstosuffering:EmployingA/R/Tographytosurfaceco-remembranceand(dwelling)place InC Sinding&H Barnes (Eds)Socialworkartfully:Beyondbordersandboundaries(pp205–219)WaterlooON:WilfridLaurierUniversityPress McLean,C,&Kelly,R(Eds)(2010)Creativeartsininterdisciplinarypractice:InquiriesforhopeandchangeCalgary,Alta:DetseligTemeronBooks MiddlemanR(1968)Thenon-verbalmethodinworkingwithgroupsNewYorkNY:AssociationPress Moxley,D(2013)Incorporatingart-makingintotheculturalpracticeofsocialworkJournalofEthnic&CulturalDiversityinSocialWork22(3–4),235–255doi:101080/153132042013843136 Moxley,D,&Washington,O(2013)HelpingolderAfricanAmericanhomelesswomengetandstayoutofhomelessness:ReflectionsonlessonslearnedfromlonghauldevelopmentactionresearchJournalofProgressiveHumanServices,24,140–164 MullalyR(2007)ThenewstructuralsocialworkDonMillsON:OxfordUniversityPress Oster,I,Aström,S,Lindh,J,&Magnusson,E(2009)Womenwithbreastcancerandgenderedlimitsandboundaries:Arttherapyasa“safespace”forenactingalternativesubjectpositionsTheArtsinPsychotherapy,36,29–38 Paton C (2015) Bringingrelatingtotheforefront:Usingtheartofimprovisationtoperceiverelationalprocessesactivelyinsocialwork InC Sinding&H Barnes H (Eds) Socialworkartfully:Beyondbordersandboundaries(pp 191–203) Waterloo ON:WilfridLaurierUniversityPress PhinneyA,Moody,E,&Small,J(2013)Theeffectofacommunity-engagedartsprogramonolderadults well-beingCanadianJournalonAging,33(3)336–345 ReamerF(2004)Non-traditionalandunorthodoxinterventionsinsocialwork:EthicalandlegalimplicationsFamiliesinSociety87(2)191–197 SeckerJ,Loughran,M,HeydinrychK,&Kent,L(2011)Promotingmentalhealthandsocialinclusionthroughart:EvaluationofanartsandmentalhealthprojectArts&Health,3(1),51–60 Sinding,C,&Barnes,H(Eds)(2015)Socialworkartfully:BeyondbordersandboundariesWaterloo,ON:WaterlooUniversityPress SlaytonS(2012)Buildingcommunityassocialaction:AnarttherapygroupwithadolescentmalesTheArtsinPsychotherapy39179–185 Stepakoff,S,Hussein,S,Al-Salahat,M,Musa,I,AsfoorM,Al-Houdali,E,&Al-Hmouz,M(2011)Fromprivatepaintowardpublicspeech:PoetrytherapywithIraqisurvivorsoftortureandwarInELevine&SLevine(Eds),Artinaction(pp128–144)LondonUK:JessicaKingsley StevensD(2013)ArttherapyandresilienceinahealthcaresettingFinalprojectforthediplomainadvancedarttherapyVancouverArtTherapyInstituteVancouverBC Walton,P(2012)Beyondtalkandtext:AnexpressivevisualartsmethodforsocialworkeducationSocialWorkEducation:TheInternationalJournal31(6),724–741doi:101080/026154792012695934

WehbiS McCormickK &AngelucciS(2016)Sociallyengagedartandsocialwork:ReflectingonaninterdisciplinarycoursedevelopmentjourneyJournalofProgressiveHumanServices27(1)49–64 Winnicott,D(1971)PlayingandrealityNewYork,NY:BasicBooks WoolhiserStallings,J(2010)CollageasatherapeuticmodalityforreminiscenceinpatientswithdementiaArtTherapy:JournaloftheAmericanArtTherapyAssociation27(3),136–140

PhotographyandVideoMethods

TRACEYLAVOIEANDTUULAHEINONEN

CONTEXT:PHOTOGRAPHYANDVIDEOINSOCIALWORK

Photographyandvideocanbeusedaseffectiveexpressiveartsmethodsforindividualandcollectivechangeortransformationandinqualitativearts-basedinquiry Inphotography thewidescopeinmethodsandtoolsavailableto practitionersandresearcherscontinuestoexpand,enablingmanyapplicationsandcombinationswithotherexpressiveartsmethodsusefulinarangeofpracticefieldsandwithdiversegroupsofpeople Theuseofvideosandtheir production(ie film-making)hasalsoincreasedinsocialworkandotherhumanservicefields Videoshavebeenusefulasameansofexpressingindividualorcollectivehistoriesandrecordsofeventsandprocesses aswellas offeringcreativetoolsforexploringissuesthataremeaningfulforproducersofvideosorforvideographerswhoengageinresearchprojects Insocialworkeducation,videosmaybeusefulinrecordingenactments(roleplays),in studentassignmentsandindistanceeducationtoillustratemethodsforworkingwithpeoplefacingcomplexissues

ThischapterdescribesusesofbothphotographyandvideoandprovidesexplanationsandexamplesofvariousprojectsGreaterattentionispaidtophotographyduetoitsbroaderadoptionandcurrentusageinmanyhumanservice professions,includingsocialwork Whatisimportanttonoteinthehistoryofphotographyandvideoinsocialworkishowthefocusonaprimarilyindividualpracticehasshiftedtousesthatcancatalyzepeople’sstrengthsand capacities andprovokeindividualandcollectivetransformation However itisalsonecessarytoidentifyandconsiderpotentialproblemsandchallengesrelatedtoethicsinvolvedinrepresentingpeopleinimages theownershipof images,andissuesinimagedisseminationtoaudiencesandthepublicingeneral(see,forexample,Webhi&Taylor,2013)

Photography

ThetermphotographyisderivedfromGreekwordsmeaning light and draw Simplepin-holecamerasweredescribedinthefifthcenturybcinChinesetexts,andthesedeviceswereusedacenturyearliertocaptureimagesusing lightfocusedonasubjectorobjectonlight-sensitivematerialMakingimagesusingthistypeofsimplestillcameraisquiteeasy(seehttps://wwwphotonet/learn/create-a-digital-pinhole-camera/) Oncethestillcamerawasfurtherdeveloped,photographersreplacedmanypaintersincreatingmorequicklyproducedandrealisticportraitsofpeopleAcameracouldalsodocumentevents,places,andobjects,providingarecord ofeventsacrosstimeandspace Ascamerasbecamecheaperandmoreeasilyavailable,multipleprivateandpublicusesarose Morerecently,socialscientists,suchasanthropologistsBatesonandMead(1942),usedphotographyin theirfieldresearch Othersocialscientistsfoundthatphotographyandthephotographicimagehadmuchpotentialforhumanexpression capturingeventsandpeoplethatholdsignificanceandmeaningforbothphotographerand viewers Professionalphotographers,workingontheirownorasemployeesincompanieswhoowntheimagestaken,tookphotographsofindividualsandgroupsofpeople,sometimeswithoutknowledgeorpermissionfromthe subjectsinthephotos Further justlikefacts imagescanbeskewedforparticularpurposesandreferredtoastruth Theimagecanconveythepowerrelationsthatexistbetweenpeopleataparticulartime place and/orsituation (Webhi&Taylor,2013)Today,socialmedia(asinvideosofevents)canbeusedforthepurposeofcivicengagementontheInternet(Jamesetal,2010) Photographsmaybeseenasworksofartthatreflectcompellingbeauty asseenintheportraitsofJusufKarsh whophotographedfamouspeoplesuchasAudreyHepburn WinstonChurchill andMartinLutherKing(see http://121clickscom/inspirations/the-greatest-portraits-ever-taken-by-yousuf-karsh) Anotherareaofphotographythatcanshowintensityofhumansuffering,withanemotionalimpactonviewers,isphotojournalism,forexample,in imagesofwarsanddisasters Thepurposeofsuchimagesisthattheyarefornewsstoriesbroadcasttothepublicbythemedia Thephotosofindividualsorgroupsofpeoplemaynotinvolvetheknowledgeorpermissionofthe subjectsintheirphotosFurthermoreevenwhennewsstoriescompelphotographerstorecordeventsdecisionsneedtobemadeaboutwhatphotosareappropriatetopresenttothepublic(seeMartinKratzer&Kratzer2003) Photographicimagescanrepresentavaluablechronologyordocumentofpeopleslivesandofsocialhistory AsKopytin(2004)highlights,photographshavethepowertounitepeopleand speak muchmoreeloquentlyand convincinglythanwords”(p 49) Photographsprovidewindowsofunderstandingbecausetheycanalso“serveasvividandconcentratedfragmentsofexternalrealityaswellastheobjectifiedrepresentationofourinnerworlds”(p 49) Personaldiscoveriescanbeunveiledthroughtheunfoldingprocessof cohesionandcontinuitytoexperience (p 49) Currently,photography,includingvideoproduction,isreadilyavailabletomanyasaresultofrapid disseminationofcamerasoflowercost,enhancedquality,andavailability,especiallyinsmartphones,tablets,watches,andmore Photographscanalsobeusefulforsocialworkers,educators,andresearchersinfosteringreflexivity,expressingfeelingsinrelationtoaprofessionalissue,orconsideringimplicationsofadecisiontheyarestrugglingwith The photographinFigure41wastakenbyoneoftheauthors(Tuula)toaidinreflectiononthemeaninginapracticedecisionIfaced Inthephotoarereflectedfrondsofplantsthatsatonatableinmyroom BeforeItookthephoto,I recalledthattheplantfrondsmovedgentlyinthebreezethatenteredfrommywindowandthelighterreflectionofthefrondsmimickedtheircontinuingmovementsThereflectionmovedonthewallsoverthecourseofthedayasthe lightinmyroomchanged IusedthephotoItooktomeditatebecauseithelpedmetoexploreandreflectonmysituationandpromptedmetothinkaboutdifferentperspectivesandmeaningsinit Atthattime,thisphotowaswell suitedformypurpose

Figure41Plantfronds:UseofphototofosterreflexivityinsocialworkpracticePhotocourtesyofTuulaHeinonen

PhotographyinSocialWorkandOtherHumanServiceProfessions

Theeaseoftakingphotographshasenabledsocialworkresearchersandpractitionerstoapplyphotographyandvideo-makingand/orviewingintheirwork Socialworktherapyandcounselingpracticemakeuseofphotographsas artifactsthatcanbeafocusintheworkofparticipantswiththeirserviceproviders Thepeoplewithwhomthepractitionersworkmay,forexample,participateintakingphotographsthatrepresenttothemameaningfuloremotive themesuchasstrengthsaspirationsorlifegoals

PhotoTherapy,anexpressiveartsapproach,consistsoftechniquesthatuseparticipants ownpersonalsnapshotsandfamilyphotos,alongwiththefeelings,thoughts,memories,andinformationthattheyevoke,ascatalystsfor communicationandhealing(Weiser,2004) TheFiveTechniquesofPhotoTherapy,whicharedirectlyrelatedtothevariouscategoriesofrelationshipbetweentheindividualandthecamera,aresummarizedasfollows:(1)photos takenorcreatedbytheindividual;(2)photosthathavebeentakenoftheindividualbyotherpeople;(3)self-portraits;(4)familyalbumsandotherphoto-biographicalcollections;and(5)“Photo-Projectives”(p 25) Weiser(2004) thusholdsthatthemeaningofaphotoiscreatedbythetakingorplanningofit;byitsviewer[s]throughviewingandwitnessingit;andbyinvitinginterestfromanotherindividualortherapistand,thus,haspotentialuseina therapeuticsetting

Fortyyearsago,familysocialworkersusedPolaroidphotosandfoundthemhelpfulinworkingwithfamiliesinwhichinfantsexperienceddifficultiesingrowthandwherehomevisitswerecarriedoutaspartoftheintervention (Woychik&Brickell 1983) Inadditiontothephotosdocumentingconcretephysicalchangesinthedevelopingchild thetherapistsdiscoveredthat onceconfidentialityofthephotoswasensured thefamiliesenjoyedtakingand keepingphotosofthemselvesandfamilymembersandlookedforwardtosubsequentvisitsinwhichphotographywasincluded,particularlywhentheysawtheirchildren’ssituationimprove(Woychik&Brickell,1983) (Itisalso possiblethatphotosmighthavebeenusedasevidencewhenneglectorabuseofchildrenwassuspected)

AnotheruseofphotographsbysocialworkerswasdescribedbyMinton(1983)whoworkedinaneonatalintensivecareunitwheresickinfantswerecaredforPhotographinganillinfantwasdonebyasocialworkerasameansof connectingwiththefamilyduringtheinfantshospitalizationMintonreferstothisactasawaytoprovideaconcreteandoftenappreciatedservicetotheparentssothatasocialworkercouldinitiatearelationshipwiththemduringa difficulttimeThephotosprovidedaffirmationofthechild’sexistencetotheparentsandotherfamilymembersandhelpedtoelicitsupport(Howeverbeingofferedsuchphotostoviewmayhavebeenupsettingorinappropriatefor someparentsSocialworkersfirstneedtochecktoseeifsuchaserviceiswantedatall)

Journalarticleswrittenin1975byNelson-Gee,andin1976and1978byWolf,describetheuseofinstantphotography TheuseofthenewlyintroducedPolaroidcameramadeitpossibleforclientstotakephotographstoexpress theirfeelingsandideas Theinstantpicturescouldbecutupandpiecesplacedintodrawingscreatedbyclientsduringsessionswiththeirtherapists Althoughtheirorientationwasinpsychotherapyandanalysisofthephotographor photograph-drawing,thetechniquesthatweredevelopedwithPolaroidphotographyofferedcomplementarynewmethodsfortherapists(Wolf,1976,1978)Nelson-Gee(1975),intherapypracticewithchildren,notedthatthePolaroid cameraofferedameetingplacewhere“thechildandIcouldmeetamediumthroughwhichwecouldexchangeperceptionsandbegintoestablishcommunication”andshesawthatthechildwouldhaveaninstantandconcreterecord inthephotographor,asshedescribed, aphysicalmemory (p159)

InanotherearlyworkCosdenandReynolds(1982)wrotethatphotographydidnotconstitutetherapybut“rather anactivitywhichcanbe‘therapeutic’”Insteadtheseauthorssawphotographyasprovidingadditionalmaterial (photostakenbyaclient)foranalysisintherapy(Wolf,1978)oractivitiesusedtofostermasteryandself-esteemthroughclients successfulcompletionofmountedphotographs(Cosden&Reynolds,1982)

THERAPEUTICUSEOFPHOTOSANDPHOTOTHERAPYWITHINDIVIDUALS,FAMILIES,ANDGROUPS

Intherealmofclinicalsocialworkandtherapythescholarlyliteraturesuggeststhatphotographyholdsgreatpromiseandpotentialforhealinggrowthandtransformation(DeCoster&Dickerson2014)Photographyhasbeenused inmanyclinicalsettingswithindividuals,families,andgroups ArttherapistssuchasJudyWeiser(2004)andAlexanderKopytin(2004)haveusedphotographyintheirpracticestoassistindividualsintheirhealingjourneys Asa visualartmedium,photographyissaidtobeaccessibleandenjoyable,invitingself-expression,creativity,andempowerment Asamodeofartisticexpression,photographyprovidesastructuredwaytoshareideasandemotions In theirstudythatsystematicallyidentifiedsummarizedandratedpreviouslytestedclinicalinterventionsthatincorporatephotosand/orphotographyinmentalhealthpracticeDeCosterandDickerson(2014)highlightedthebenefitsof thetherapeuticuseofphotographyinclinicalsocialwork

AccordingtoAlexanderKopytin(2004)furthertoitsutilityintherapeuticsettingsphotographyinstillsfeelingsofsafetypowerandcontrolHeaddsthatspecificallythephysicaldensityofacameraandphotographscanfoster feelingsofsafetyandoffersomedistancefromevents,whichisparticularlyimportantwhennegativeeventsanddifficultemotionsarebeingexploredFurthermore,thesocialnatureofphotographyunitespeopleandstimulatesvisual thinkingandcommunicationThesharingofstoriesoftenaccompaniesthesharingofphotos,andthenarrativesthatemergecanbevividandcomplexandcanpavethewayfortheexpressionofthoughtsandfeelings(Kopytin,2004) Throughtheuseofphotographicimages,positiveandnegativememoriesandfeelingsareprovokedandreleased,creatingtheconditionsforresolutionandhealing(Kopytin,2004) Heexplainsthatvarioussensorysystemsare

stimulatedsuchasvisualandtactiletherebyofferinganaffectiveandembodiedexperiencePhotographyactivelyengagesindividualsgroupsand/orfamiliesinthetherapyprocesswiththetakingandsharingofimagesAlongwith thismoreactivestanceintherapyandintheworld,photographyinspires initiativeandintentionality (p 51) Theopportunitytorecognizeandunderstandchangeandgrowthatvariouslevels,suchasphysical,environmental,and emotional,becomespossiblethroughtheexplorationofindividualphotos,andexploringcombinationsofimagestakenfromavarietyofsourcescanalsoleadtotheunearthingofconnectionsandrealizationofnewmeanings As such,thepossibilityforself-reflectionandreframinghighlightedbyKopytin(p51)appearsvastFurther,expressionthroughuseofphotographycanhelppeopletocommunicateindirectlyand,forthosewithtraumaticexperiencesin theirbackground,offerssomedegreeofprotectionforthemtoavoiddirectlyspeakingabouttheirtraumatizingstressfullifeevents

IllustrationsandApplications

Anexampleoftheuseofphotographyintherealmofsocialworkpracticeandotherhumanservicesandhelpingprofessionsishospicephotography Somephotographersofferfreeportraitanddocumentaryphotographytohospice patientsandtheirfamilies Thephotographscanhelpcapturetheessenceofrelationships,preservememories,andchroniclethislifetransition HospicenurseMaryLandberg,whohasphotographedpatientsandtheirfamilies, highlightstheimpactofsuchphotosbystating“Manypeopletellmetheirphotographsaretheirmostcherishedobjectsandtheimagesenabletheirloveforeachothertolivebeyondthelastbreath”(http://momentsnhpcoorg/newsblogs/hospice-photography-%E2%80%93-preserving-moments-love-forever)Moreonhospicephotographyservicescanbefoundonvariouswebsites(seeResourcessectionattheendofthischapter) Dennett(2009)highlightstheworkofhislateformerpartnerJoSpenceaphotographerandcanceractivistfromtheUnitedKingdomwhousedphotographyas“anaturalpartofherpreferredalternativeandcomplementarycancer treatments”(p10)Initiallyforpersonaluseinherbreastcancerhealingjourney,Spence’s“visualillnessdiaries”(p10)thatemergedfromherearlierpassionforcreatingphotoalbumsevolvedinto“criticalcampaignmaterial”(p 10)forwomen’sanddisabilitymovements,forteachingpurposesandpublications,andforatouringphotographyexhibitioncalled“ThePictureofHealth”(p 10) Spenceisregardedasbeinginstrumentalinthedevelopmentof therapeuticphotographyintheUnitedKingdom Inlinkingherownpersonalissuestosocialjusticecauses herphotographypracticehasbeensaidto“illustrateacommitmenttothepoliticalpotentialofphotography awayto connect her own intimacies and traumas to a broader public discourse (http://wwwjospenceorg/biographyhtml) More on Spences life, work, and exhibits can be found via the following link: http://wwwjospenceorg/workindexhtml

NewdevelopmentsintechnologyforengagementwithvisualartshasmadeitpossibleforpeoplewhoareblindorhavelimitedvisiontogainaccesstoandparticipateinphotographyForexample,theriseof3Dprintersprovidesa usefultoolwhereby,ratherthananimagereproducedintwodimensionsonasheetofpaper,theseprintersenablethecreationofthree-dimensionalsculpturesThus,photosandotherimagesareproducedinthreedimensionsandfelt withthehandssotheycanbeseen Formany,itbringsbackmemoriesinphotographs,suchasafamilyphotooractivitiesinchildhood,bymakingthemaccessiblethroughtactileexperience SeeTincho(nd)foradditionaldetails andstoriesofpeoplewhoexperiencedimagesthatcouldbefeltthroughthistechnology,includingavideoonarecentprojectinaction Forphotossharedviasocialmedia,bothFacebookandTwitterhaveintroducedsystemsand functionsthatcanreadordescribephotographs Withtheuseofartificialintelligence specificallyobjectrecognitionsoftware Facebookservershavethecapacitytodecodeanddescribeimagesinaudioformat Twitteruserscan manuallyaddtheirowntextdescriptionstoimages(Baker,2016)

Intherealmsofsocialworkeducationandinquiry PhillipsandBellinger(2011)demonstratedhowphotoscanbeusedtoteachaboutrelationalityanddifference(p 86) TheauthorsanalyzedphotographicimagesfromDiana MatarsexhibitLeavetoRemain,whichaddressestheasylum-seekingprocessintheUnitedKingdomand offersinsightfulconversationsaboutthepublicdiscoursesofasylumseekingandtheeffectsofasylumseekingon individuals”(p87)

PhillipsandBellinger(2011)used“contemporaryvisualmethodology”(p86)intheiranalysisofselectphotos(21intotal)andthensharedportionsoftheirconversationwitheachotherabouttheprocessoftheanalysisagainstthe backdropoftheircommentaryonthecontentandcontextoftheimages TheiranalysisofthecontentandcontextofMatar’sphotosrevealsthatthephotographer“isabletopushourdiscussionofasylumseekingtotheeveryday, wherethe(surrounding)lifeisofprimaryinterest”(p 99) Assuch thepossibilityforrelationalityandreflexivityemerges PhillipsandBellingersharedthatthephotographsareusefulinsocialworkeducationingenerating“‘a reflectiveself [bywhich]weareinvitedtopaycloseattentiontothespaceswhere bodiesandeyesmeet andtoconsiderhowwewillensurethatinthatspace,bothserviceusersandsocialworkersarehumanizedandcan thereforebeunderstoodandencouragedtobeactivesubjects”(p102)AccordingtoSindingWarrenandPaton(2012)“inofferingsuchevocativealternateimagesMatar’sphotosreconfigurecontemporarysocialrelationsbetween citizensand others (p 9) Inteachingaboutrelationalityanddifference,PhillipsandBellinger(2011)thereforedemonstratehowtheuseofphotographybringstolifetenetsofsocialjusticeandantioppressivepractice(AOP)in socialworkeducation Matar’sLeavetoRemainexhibitcanbeviewedviathefollowinglink:http://wwwdianamatarcom/leave-to-remain Thereisgreatpowerandpotentialforphotographyinsocialworkclassroomsandinfield learning/practicumsettingssuchasfosteringopennessandawarenessconnectiontotheenvironmentandthelargersocialworldandencouragingdialoguereflectionandtenetsofcollaborativeandrelationalpracticesuchasanotknowingperspective(Anderson,2005),aswellaspromotingaffectiveandembodiedlearningexperiences

PHOTOGRAPHYFORCOMMUNITYINTERVENTIONANDSOCIALTRANSFORMATION:SOCIALCHANGE

ThecollaborativephotographyprojectbetweenLindsayKatsitsakatsteDelaronde anIroquois/MohawkartistfromQuebec Canada andagroupofFirstNationswomenisanexampleofphotographyaimedatconsciousness-raising andsocialchangeEntitledProjectSquaw,itwasexhibitedasInDefianceinthefallof2016ataBritishColumbia,Canada,artgalleryThe3-yearprojectusedphotographicimagestoresistthelanguageandattitudesthatoppressand marginalizeIndigenouswomen Delarondephotographedthe32women whorangedinagefrom22to56years inastyleandphysicalsettingthatwaschosenbythem(Madden 2016) Coupledwithdefyingandresistingtheterm squaw,thecommunityofvoicesthatemergedintheprojectrewritesthedominantdiscourseoftraumaandtragedythathasbeenperpetuatedfromcolonialism Throughthepowerofphotographyandtheindividualportraits,the narrativesaretransformedintoalternateviewsofselfandofstrength,power,andresilience,reflectingtruthandrespect(Madden,2016) (SeealsotheUniversityofVictoriaLegacyArtGallery’s2016video,InConversationwith LindsayDelaronde&SarahHunt)

Althoughmuchoftheliteratureechoessuchclaimsasphotographshavingthepotentialto“speaklouderthanwords”(Webhi&Taylor,2013,p525);“‘speak’muchmoreeloquentlyandconvincinglythanwords”(Kopytin,2004, p 49);and“beanemotionallypowerfulmeansofexpressinghumanexperiences”(DeCoster&Dickerson 2014 p 2) cautionrelatedtoissuessuchasethics voice andrepresentationalsoexistswiththeuseofphotos Inkeeping withcodesofethicsandtenetsofsocialjusticepractice,socialworkpractitioners,educators,andresearcherswhousephotographyintheirpractice,teaching,andresearchshouldpaycloseattentiontoissuessuchasownershipof imagesconsentfortheuseofphotosandtheriskofmisrepresentation

Intheirexamplesofinternationaldevelopmentworkers useofphotographytodocumentfieldwork,WebhiandTaylor(2013)illuminatethelinksbetweenphotographyandcolonialismandimperialism,specificallyhowtheuseof photosincommunityandinternationaldevelopmentworkcanriskreplicatingandperpetuatingpre-existingpowerimbalancesindifferentareasoftheworldManyimportantissuesforconsiderationregardingtheuseofphotographs incommunityandinternationaldevelopmentarehighlightedsuchaspotentialethicaldilemmasofrepresentingtheotherandtherisksofphotographsconflatingrealitymakingthema“tooltoelicitreactionstoapresumedtruth”and thereby,supportingandperpetuatingcolonial,neocolonial,andimperialistdiscoursesandagendas(p526)WhatisproposedbyWebhiandTaylor(2013)isacriticalanalysisofthepurposeofthedocumentation,awarenessoftheuse ofimagesandworkers’rolesinthereproductionofimagessoasnottoadvanceaneocolonialagenda(p526)AlongwithawarenessthecommitmenttocreatingalternatediscoursesandanticolonialrepresentationsofNorth–South relationsaresuggestedPhotographythatbuildsontheseidealsfitsbetterwiththesocialworkaimofsocialtransformation

PhotovoiceInquiry

Photovoice aqualitative community-based participatoryresearchapproach involvesprovidingcamerastocommunityparticipantssothattheycanvisuallyrepresent(throughphotography)andcommunicatetheirlivedexperiences (Molloy,2007;Ornelasetal,2009;Woodgate,Zurba,&Tennent,2017) Thegoalsofphotovoiceinclude(a)theopportunityforparticipantstorecordandreflecttheircommunitysstrengthsandconcerns;(b)thepromotionof criticaldialogueandknowledgeaboutimportantcommunityissuesthroughgroupdiscussionsandphotographs;(c)thepresentationofpeople’slivedexperiencesthroughtheirownimagesandlanguage;and(d)connecting communitiestopolicymakers(Ornelasetal 2009;Wang&Burris1997;Wang&Redwood-Jones2001)

SaidtobedevelopedbyWangandBurris(1997)andcolleagues,andfirstusedbyvillagewomeninruralChinatoinfluencethepoliciesandprogramsthatimpactedthem(PhotovoiceGlobally,nd;Wang&Redwood-Jones,2001; Woodgateetal 2017) photovoiceisbasedonthreemajortheoreticalunderstandings:first problem-posingeducationthatisbasedontheworkofBrazilianeducatorPaoloFreire(1970 1973) feministtheory andtenetsof documentaryphotography(Bonnycastle&Bonnycastle,2015;Wang&Redwood-Jones,2001) Theapproachdiffersfromthemoretraditionalapproachofdocumentaryphotographyinthatparticipantsareactiveintheresearch processratherthan“passivesubjectsofotherpeople’sintentionsandimages”(Wang&Burris 1997 p 371) Photovoiceencompassesmodelsandtechniquessuchasphoto-elicitationanddigitalstorytelling pavingthewayfor participants,whooftenidentifyasmarginalizedandmaynothaveaccesstophotographyequipment,tocreatetheirownvisualimagesthatcapturetheirperspectives,illuminatetheirexperiences,sharetheirstoriesintheirownvoice, andpromotesocialchangeandtransformation(PhotovoiceGlobally,nd)

Photovoicehasbeenusedasatooltoempowermarginalizedcommunitymemberstocollaborate enhancetheircommunity andbuildalliances(Bonnycastle&Bonnycastle 2015) Peabody(2013)contendsthatphotovoiceisan extremelypromisingtool (p 263)andhasgreatutilityinsocialjusticeandcommunitydevelopment Withtheparticipantphotographerproducingtheimagesandinfluencingotheraspectsoftheprojectintheroleofcoresearcher, Woodgateetal(2017)contendthatphotovoiceisa“toolforexpressionandempowermentinqualitativeresearch”(p2) Lees(2009)MSWproject, VisualizingtheMargins:TheExperiencesofQueerPeopleofColour, isoneexampleoftheuseofphotovoiceinsocialworkresearch How“queerpeopleofcolourvisualize,describe,and conceptualizetheirlifeexperiences”(p 48)and“resistinterlockingsystemsofdomination”(p 2)wasexploredwiththeuseofphotovoicemethods Alongwiththeparticipant-producedphotosandnarrativesthatilluminatedtheir experiencesandactsofresistance,acollaborativephotoexhibitwasalsopartofthisproject Coupledwithuseinandbycommunities,photovoicehasalsobeenincorporatedintosocialworkeducationsettingstoilluminateconceptsandmeanings(Phillips&Bellinger,2011);asatoolforstudentstolearnabout,engage with andexperienceresearch(Bonnycastle&Bonnycastle 2015);andasamethodtoengagesocialworkstudentsinsocialjustice(Peabody 2013) Inreferencingbothphotovoiceliteratureandtheinsightsgainedfromstudies connectedtoaresearchprogramwithyouthandtheirfamiliesovera15-yearperiod,Woodgateetal (2017)highlightthemanyadvantages,opportunities,andchallenges(includingethical,relational,andprocedural)inusing photovoiceinqualitativeresearchCautionsandethicalissuesrelatedtotheuseofphotovoiceasdiscussedbyWangandRedwood-Jones(2001)include“thepotentialforinvasionofprivacyandhowthatmaybeprevented;issuesin recruitment,representation,participation,andadvocacy;andspecificmethodologicaltechniquesthatshouldbeusedtominimizeparticipants risksandtomaximizebenefits (p 560) Manyofthesesamecautionsalsoapplytothe productionofvideosandvideography

VideoinSocialWork

Incontrastwithphotography,videohasbeenutilizedmostlyinsocialworkeducation,forexample,incasestudyvignettesandexperiencesofpracticesituationsandideasandmethodsofintervention(eg,Cartney,2006;Rowanetal 2015;Thomas&Marks 2014) Theneedforsuchresourcesinsocialworkisimportantsincesocialworkeducationoftenincludesexperientiallearningusinginteractivemediatosimulatereal-worldsituationsforstudentlearning Socialworkinquiryhasmorerecentlyinvolvedvideoproduction Therearemanyvideosproducedaboutsocialissuesthataimtoraiseawarenessandunderstandingthatcancontributenewperspectivesforsocialwork Onecan simplysearchonlinefortopicsonaddictionsmentalhealthpovertychildwelfareclimatechangeandmanymore(Thesecanvaryinqualityandperspectivesoitisbesttoselectcarefully)

AToronto-basedsocialworker,Stephen Buddha Leafloor,whonarratesaTEDxOttawapresentation(2011),SocialWorkThroughHipHop(seehttps://wwwyoutubecom/watch?v=SzC8hb9Srw),describeshowstreetdancing hashelpedhimtoconnectbetterwithyouththanwhenworkingasasocialworkerinchildprotectionagencies Heweaveshisownstoryintohisideasabouthowlearninghip-hopcanleadtoindividualchangeandsocial transformationinCanada’sArcticandelsewhere AnAmericanTEDxTalkvideo,entitledSocialWorkersasSuper-Heroes,canalsobefoundonline(https://wwwyoutubecom/watch?v=A27QjpQIeo) ThisTEDxTalkfeaturesa description,byAnnaScheyett(2015),ofwhatsocialworkersdoandhowtheymakecontributionstoUSsociety

VideosaboutsocialworkprojectsforsocialchangehavebeenproducedandmountedonInternetsitestohelpthepubliclearnabouttheprofessionandsocialworkpracticeOnesuchvideoexplainingtheneedforchangeinsocial workeducationistheEuropeanvideo,MendtheGap AChallengeforSocialWorkEducation,byLisaBlidnert(2015),whichfocusesonbridginggapsofunderstandingbetweensocialworkersandthosewithwhomtheywork ApowerfulvideofromtheUnitedStatesaboutpovertyandchildwelfareonIndigenousreservesbyLakotaLawisentitledSocialServiceWorkersSpeakOut:PovertyIsNotNeglect Thisworkbringstolightshortcomingsin practicesandpoliciesinrelationtochildprotectionservicesinreservecommunities(seehttps://wwwyoutubecom/watch?v=QeGiF0zkIYo)Manymorevideosaboutsocialwork,socialworkmethods,andissuesofsocialimportance canbefoundontheWorldWideWebbysearchingforkeywordswhenmakingselectionsTheviewer,however,needstorealizethatvideosontheInternetmayrangewidelyinviewpoints,quality,andevenaccuracy Therearenowmanywaysforstudentstoproducetheirownvideosaspartoftheirlearninginsocialworkandthesecangeneratepowerfulandcreativelearningopportunities(eg Thomas&Marks2014)Effectivetechnologies areaccessibleandavailablethroughthecapacitiesofeasy-to-use,hand-helddevicessuchassmartphones Tetloff,Hitchcock,Battista,andLowry(2014)describestudents’involvementinvideoproductionforanassignmentina UniversityofAlabamasocialpolicycourse Thestudentswererequestedtofocusona“policy law orprogram;provideinformationaboutit;andargueforitsimportanceintheUnitedStates Collaboratively studentscompile[d] videos,music,research,andinterviewstocraftinterpretationsofsocialpolicies (p23)Thepointoftheexercisewastohelpstudentstodevelopskillsincriticalthinking,assessthevalidityofmaterialtheyencountered,and,finally, presenttheirfindings(Tetloffetal 2014)Digitaltechnologyinthisandothersocialworkprojectsmakesitpossibleforideastomovebeyondindividualandsmallaudiencestothepublicrealm ThomasandMarkss(2014)exploratorystudyoftheuseofstudent-generatedvideosinasocialworkcommunitypracticecourseilluminatesthepowerandpotentialofvideosinsocialworkeducation TheirMSWcourse,which focusedoncommunitypracticeandeconomicdevelopmenttheories,models,andstrategies,requiredavisualpresentationofthekeycomponentsofthestudents’writtenpapers Thisexperientialcomponentwasfoundtogreatly enhancestudents’learningandunderstandingofcommunitypractice Findingsfromtheonlinesurveysofthe37participantsindicatedthatparticipantsvaluedthecreativeaspectsofthevideocomponentandthenewlearningthat emergedinthedomainsofpraxisandtechnologicalskilldevelopment(Thomas&Marks,2014)

VIDEOSFORSOCIALJUSTICE,HUMANRIGHTS,ANDSOCIALTRANSFORMATION Anexampleoftheuseofvideoforthepromotionofsocialjusticehumanrightsandsocialtransformationisthehour-longvideoprogramCompulsivePracticethatwaspresentedatthe2016DayWith(out)ArtbytheUScommunity organizationVisualAIDS The compulsive,daily,andhabitualpracticesbynineartistsandactivistswholivewiththeircamerasasonewaytomanage,reflectupon,andchangehowtheyaredeeplyaffectedbyHIV/AIDS are

highlighted(Carlomusto Juhasz &Ryan 2016 para 1 lines2–3) Theirvideocompilationincludesadiversityofexperiences suchasindividualpersonalreflectionsandcommunity-basedactivistdemonstrations andarangeof olderandmorecurrentvideoformats ThevideopracticesofthefeaturedartistsandactivistswhoarelivingwithAIDSaresaidto servemanypurposes cure,treatment,outlet,lament,documentation,communication andhave manytones obsessive,driven,poetic,neurotic,celebratory”(Carlomustoetal,2016,para2,lines3–5)Formoreinformation,seevisualaidsorg/projects/detail/compulsive-practice

VideoinSocialWorkInquiry

Videosinwhichresearchparticipantstakeparthavebecomemoreprominentinsocialwork Videosinresearch(eg,videoethnography)canverypowerfullydepictpeopleandtheircircumstances,oftenbringingprivateeventsand experiencesintoapublicforum Thereareclearlyimplicationsregardingprivacyandconfidentialitywhichsurfaceandthatmaynotbeunderstooduntillaterwhenthevideosareinprocess Inquirythatinvolvedmigrantmothers livingwiththeirchildreninItalyposedjustsuchadilemmaforresearcherHernandez-Albujar(2007),whorealizedthatherplantouseethnographicvideorecordinginherstudywouldrevealtheidentitiesofthemigrantmothers, manyofwhomwereundocumentedTheresearcherhadtofindsomeotherwaytohearthestoriesofthemigrantwomensothattheywouldnotbeidentifiedHernandez-Albujarwantedtousevideobecausesheasserts“itdoesmore thanjusttellastory:Itmorecloselyreproducesthefeelings,livedexperiencesandsensationsoftheparticipants (p284)ShewasawarethatamorevividandtexturedresultwouldbeachievedifonlystillphotoswereusedInthe end,theresearcherarrivedatacompromise,producingavideothatusedgroupingsofimages(metaphors)toevokefeelingsandexperiencesrelatedbythestudyparticipantsininterviews,butexcludingtheirimages Asisshownin thisresearch theuseofvideoininquirydoesnotneedtobeboundbyconventionalfilmformatsorstructures;creativesolutionsthatcapturestoriesandmeaningfulimagesthatfitcansucceed SaraPink(2001)states inrelationto videoethnography,“Thevisualtechnologiesthatethnographersuse,liketheimagestheyproduceandview,willbeinvestedwithmeanings,inspireresponsesandarelikelytobecomeatopicofconversation”(p35)Thereisnoone waytoachievesucharesultDigitalvideostoriesconstituteddatainMarlynBennett’s(2016)doctoralresearchinManitobaCanadaBennettwasinterestedindocumentingthestoriesofIndigenousyouthformerfosterchildrenwho hadorweremakingatransitionfromfostercaretoemergingadulthood Oftenyouthwerepoorlypreparedforthistransitionandexperiencednumerousroadblocksalongtheway Throughtheuseofdigitalvideo,youthwho participatedwereabletotelltheirstoriesintheirownwayswithtechnicalhelpandsupportprovidedSomevideosmadebytheyouthhavebeenmountedontopublicsitesforviewingbyothersBennett’sworkeffectivelyandina compellingway,describeshowtheyoungpeoplelearnedandstruggledintransitioningfromfostercaretoemergingadulthoodThevideostoriescouldalsobedescribedastheyouths accountsofself-validation,affirmation,and/or survivalTheirstoriesteachsocialworkersandsocialserviceagenciesabouttheeffectsofbeinginthecareofchildprotectionagenciesandtransitioningfromthemBennett’sdescriptionsofthevideoaccountsandthevideosthatare availableforviewingpointtothemanyneedsintheiryounglivesthathavenotbeenmetandwhatwouldhavehelped Foster(2009)discussedtheprocessandoutcomeofusingvideoasamethodofcollectinganddisseminatingdatainherSureStartresearchstudySheclaimedthatprovidingresearchparticipantstheopportunityto“telltheirstories throughthismediumisanidealwaytoprivilegetheirexperiencesandfortheaudiencetogaininsightsintotheirlives”(p233)Fosteralsoclaimedthat“participatoryvideoisaneffectivemethodofgatheringdata”(p243)Theuse ofvideobyresearchparticipants encapsulatedmanyofthefindingsthatemergedthroughquestionnairesandinterviewsand,whilsttheywerepresentedhereamongstavarietyofotherformsofdata,theyreceivedaparticularly emotionalresponsefromtheaudience”(p243)

CONCLUDINGTHOUGHTS

Photographictechnologyhasprovidedanabundanceofequipment methods tools andapplicationsforsocialworkerstodrawfrom combine andgeneratebythemselves Suchmethodsaregainingground especiallyineducation andresearchareas Useofphotographyinsocialworkhasalongerhistory,inworkwithchildrenandfamilies,womensgroups,refugeenewcomers,andyouthfacingdifficulty Theseareonlysomeofthepopulationsthatcan potentiallybenefit

Videosbythosewhohavebeenclientsofsocialservicesandsocialworkersprovideaccountsthatcanteachusfromtheperspectiveofthepersonwhointeractswithsocialservicesystemsandtheiremployees Theirstories contributeknowledgebasedonexperiencewithserviceprovisionandservetoinformchangeinsocialwelfareandagencypoliciesandinsocialworkpractices,whichcanleadtoindividualandsocialchangeandtransformation Manyopportunitiestomakeuseofstillandmovingimagesexistforsocialworkpractitioners,educators,andscholars,andavastarrayofmethodsandapplicationsareavailable Theproliferationofbooks,articles,andwebsites aboutthesemethodsandhowtheyhavebeenappliedindicatesanincreasedinterestintheuseofimagesinsocialwork

QUESTIONSFORREFLECTION

1 Whenyouthinkofyourownworkwithindividualswhohaveexperiencedsometroubleinlifehowdoyouthinkthatreviewingfamilyphotosandtalkingaboutthemcouldbeofhelp?

2 Whatkindofexerciseusingphotographycouldyouimagineasbeinghelpfulforthoseforwhomyouprovideservicesandwhatisyourrationaleforintroducingit?Whatoutcomesmightresult?

3 Whataresomeethicalissuesinvolvedinmakingavideowithadultswhohaveexperiencedchildhoodabuse20ormoreyearsago?Whatifanycriteriawouldyouusetoexcludeprospectiveparticipantsandwhy?

4 Ifyoucouldmakeavideooftheinspiringmomentsinyoursocialwork(orrelated)careerwhatwoulditcontain?Whatcouldotherslearnfromit?

RESOURCES

Photography

Photographyuseinhospicesettings:https://wwwslrloungecom/lifes-end-documented-by-kindred-spirits-hospice-photography/andhttp://wwwhospiceportraitscom PhotoTherapy,TherapeuticPhotography,&RelatedTechniques:https://phototherapy-centrecom/ PhotovoiceCanada:http://photovoiceca/ PhotovoiceHamilton,aprojectoftheCommunityCentreforMediaArts:http://ccmahamiltonca/portfolio/ PhotovoiceWorldwide:http://wwwphotovoiceworldwidecom

Someexamplesofphotovoiceprojectsinsocialworkareavailableathttp://inspireartorg/en/photovoice-in-montreal-photovoice-a-montreal/

Videos

ThefollowinglinkisforashortvideothatwasdevelopedwithhelpfromM Bennettaspartofherdoctoralwork(2016) ItwasmadebyayoungIndigenousmanwhoexperiencedchallengesintransitioningfromchildhood experiencesinfostercareto,andemergenceinto,adulthood:https://assetsadobecom/link/839d843d-170a-47d9-5c59-a3927e32c2ae?section=activitypublic Seehttps://socialworklicensemapcom/social-work-movies/toseehow Hollywoodfilmshavedepictedsocialworkersandsocialworkpractice,mostlyinrolesinwhichchildrenandyouthareprovidedservices

Additionaldetailsonthree-dimensionalprintingtechnology,includingavideoonarecentprojectinaction,canbefoundathttp://wwwboredpandacom/touchable-memories-3d-printing-pirate3d/ Twitteruserscanmanuallyadd theirowntextdescriptionstoimages(seehttp://wwwbbccom/news/disability-35881779)

REFERENCES

Anderson,H(2005)Themythofnot-knowingFamilyProcess,44(4),497–504 BakerD(2016)Identity2016:Facebookletsblindpeople“see”itsphotosBBCNewsonlineRetrievedfromhttp://wwwbbccom/news/disability-35881779 Bateson,G,&Mead,M(1942)Balinesecharacter:Aphotographicanalysis(Vol2)NewYork,NY:NewYorkAcademyofSciences

Bennett M (2016) Digital storytelling with First Nations emerging adults in extensions of care and transitioning from care in Manitoba (PhD dissertation) Faculty of Social Work University of Manitoba Retrieved from http://mspacelibumanitobaca/handle/1993/31252

BlidnertL(2015)Mendthegap Achallengeforsocialworkeducation[Video]Retrievedfromhttps://wwwyoutubecom/watch?v=QExMaA2Mus BonnycastleMM &BonnycastleCR(2015)Photographsgenerateknowledge:Reflectionsonexperientiallearningin/outsidethesocialworkclassroomJournalofTeachinginSocialWork35(3)233–250doi:101080/0884123320151027031

Carlomusto,J,JuhaszA,&Ryan,H(2016)Compulsivepractice[Visualaids]Retrievedfromvisualaidsorg/projects/detail/compulsive-practiceandhttps://vimeocom/192798505 Cartney,P(2006)UsingvideointerviewingintheassessmentofsocialworkcommunicationskillsBritishJournalofSocialWork,36,827–844 CosdenC &ReynoldsD(1982)PhotographyastherapyTheArtsinPsychotherapy919–23

DeCoster,V,&DickersonJ(2014)Thetherapeuticuseofphotographyinclinicalsocialwork:Evidence-basedbestpracticesSocialWorkinMentalHealth,12(1),1–19doi:101-80/15332985201381245 DennettT(2009)JoSpencescameratherapy:PersonaltherapeuticphotographyasaresponsetoadversityEuropeanJournalofPsychotherapy&Counselling11(1)7–19 FosterV(2009)Authenticrepresentation?Usingvideoascounter-hegemonyinparticipatoryresearchwithpoorworking-classwomenInternationalJournalofMultipleResearchApproaches3(3)233–245 Freire,P(1970)PedagogyoftheoppressedNewYork,NY:Seabury FreireP(1973)EducationforcriticalconsciousnessNewYorkNY:Continuum Hernandez-Albujar,Y(2007)Thesymbolismofvideo:Exploringmigrantmothers’experiencesInGStanczak(Ed),Visualresearchmethods:Image,societyandrepresentation(pp281–306)ThousandOaks,CA:Sage JamesC,Davis,K FloresA,Francis,J,Pettingill,L,Rundle,M,&Gardner,H(2010)Youngpeople,ethicsandthenewdigitalmediaContemporaryReadingsinLawandSocialJustice,2(2),229–249 KopytinA(2004)Photographyandarttherapy:AneasypartnershipInscape9(2)49–58doi:101080/02647140408405677 Landberg,M(nd)Hospicephotography PreservingmomentsofloveforeverRetrievedfromhttp://momentsnhpcoorg/news-blogs/hospice-photography-%E2%80%93-preserving-moments-love-forever LeafloorStephen(2011)Socialworkthroughhiphop[TEDxOttawavideo]Retrievedfromhttps://wwwyoutubecom/watch?v SzC8hb9Srw LeeWJE(2009)Visualizingthemargins:Theexperiencesofqueerpeopleofcolor(master’sthesis)McGillUniversityMontrealQC MaddenA(2016)Indefiance:IndigenouswomendefinethemselvesFocusOnlineRetrievedfromhttp://focusonlineca/node/1125 MartinKratzerR &KratzerB(2003)Hownewspapersdecidedtorundisturbing9/11photosMediaStudiesofSeptember11NewspaperResearchJournal24(1)34–47doi:PDF/101177/073953290302400104

MatarD(nd)LeavetoRemain[photoexhibitimages]Retrievedfromhttp://wwwdianamatarcom/leave-to-remain#0

Minton(1983)UsesofphotographsinperinatalsocialworkHealthandSocialWork,8(2),123–125

MolloyJK(2007)PhotovoiceasatoolforsocialjusticeworkersJournalofProgressiveHumanServices18(2)39–55doi:101300/J059v18n0204

Nelson-GeeE(1975)Learningtobe:AlookintotheuseoftherapywithPolaroidphotographyasameansofrecreatingthedevelopmentofperceptionandtheegoArtPsychotherapy2,159–164

OrnelasI AmellJ TranAN RoysterM Armstrong-BrownJ &EngE(2009)UnderstandingAfricanAmericanmensperceptionsofracismmalegendersocializationandsocialcapitalthroughphotovoiceQualitativeHealthResearch19(4) 552–565doi:101177/1049732309332104

Peabody,CG(2013)UsingphotovoiceasatooltoengagesocialworkstudentsinsocialjusticeJournalofTeachinginSocialWork,33(3),251–265doi:101080/088412332013795922

PhillipsC &BellingerA(2011)Feelingthecut:ExploringtheuseofphotographyinsocialworkeducationQualitativeSocialWork10(1)86–105doi:101177/1473325010361999 PinkS(2001)DoingvisualethnographyLondonUK:Sage Rowan,D,Järkestig-Berggren,U,Cambridge,I,McAuliffe,D,Fung,A,&Moore,M(2015)The6continentsproject:Amethodforlinkingsocialworkeducationclassroomsforinterculturalexchangethroughasynchronousvideosharing International SocialWork58(4)484–494 Scheyett,A(2015)Socialworkersassuper-heroesTEDxColumbiaSC[Video]Retrievedfromhttps://wwwyoutubecom/watch?v=A27QjpQIeo Sinding,C,WarrenR,&Paton,C(2012)Socialworkandthearts:ImagesattheintersectionQualitativeSocialWork,13(2),187–202doi:101177/1473325012464384 TetloffM HitchcockL BattistaA &LowryD(2014)Multimodalcompositionandsocialjustice:VideosasatoolofadvocacyinsocialworkpedagogyJournalofTechnologyinHumanServices32(1–2)22–38doi:101080/152288352013857284 Thomas,KA,&Marks,L(2014)Action!Student-generatedvideosinsocialworkeducationJournalofTechnologyinHumanServices,32(4),254–274doi:101080/152288352014922912 Tincho(nd)Touchablememories:Thiscompany3D-printsoldphotostohelptheblindre-experiencememoriesRetrievedfromhttps://wwwboredpandacom/touchable-memories-3d-printing-pirate3d/ UniversityofVictoriaLegacyArtGallery(2016)InconversationwithLindsayDelaronde&SarahHuntRetrievedfromhttps://wwwyoutubecom/watch?v BMLK1NunX-g Wang,C &Burris,M(1997)Photovoice:Concept,methodology,anduseforparticipatoryneedsassessmentHealthEducation&Behavior,24,369–387doi:101177/109019819702400309 WangC &Redwood-JonesYA(2001)Photovoiceethics:PerspectivesfromFlintPhotovoiceHealthEducation&Behavior28560–572doi:101177/109019810102800504 Webhi,S&Taylor,D(2013)Photographsspeaklouderthanwords:ThelanguageofinternationaldevelopmentimagesCommunityDevelopmentJournal,48(4),525–539doi:101093/cdj/bss050 Weiser,J(2004)Phototherapytechniquesincounselingandtherapy Usingordinarysnapshotsandphoto-interactionstohelpclientshealtheirlivesTheCanadianArtTherapyAssociationJournal,17(2),23–56 WolfR(1976)ThePolaroidtechnique:SpontaneousdialoguesfromtheunconsciousJournalofArtPsycholotherapy3197–214 WolfR(1978)Theuseofinstantphotographyincreativeexpressivetherapy:AnintegrativecasestudyArtPsychotherapy,5,81–91 Woodgate R L Zurba M &Tennent P (2017) Worthathousandwords?Advantages challengesandopportunitiesinworkingwithphotovoiceasaqualitativeresearchmethodwithyouthandtheirfamilies Forum:QualitativeSocialResearch [Sozialforschung]18(1)Art2 WoychikJP &BrickellC(1983)TheinstantcameraasatherapytoolSocialWork,28(4)316–318

MovementandDance

SARAHROCHEANDTUULAHEINONEN

BACKGROUND

Apersonwhoisengaginginmovementusesspaceimmediatelyaroundherorhisbodyandintheenvironment The“elementsofspace time forceandshape”(Halprin 2003 p 111)characterizecreativeexpressionthrough movementTheseelementscanbeobservedbythosewhowatchadancermoveacrossaroomindifferentwaysusingpartsofherbodyandthespacearoundherandintheroom RegardingtheuseofexpressivemovementandthebodyHalprin(2003)writesthatthephysicalemotionalandmentallevelswork“experientiallyandmetaphoricallywithourpastandwiththewaysourlifeexperiencesliveinus atunconsciousaswellasconsciouslevels, andweneedtoloosenourselves fromtheseentanglements tobeableto morefullyandexpressivelypresentinthemoment (p105)

AninterviewwithSarahRoche acontemporarydancerandeducator helpstoshapethecontentofthischapter TuulahasdrawnuponSarah’swordsandhaspositionedthemwithselectedliteratureonmovementanddanceto deependiscussionontopicsraisedbySarah SarahRochesinterestinmovementanddancestemsfromearlychildhoodwhenshefirstbegandancingjazzandballetandcreativemovement Someofherelementaryschoolteachers wereinfluentialinguidingherandinspiringhertoteachchildrenherself SarahalsosangandactedinschoolbutreturnedasayoungwomantomoderndanceandballetatTheSchoolofContemporaryDancersinWinnipeg, Manitoba and later inauniversitytrainingprogram theSeniorProfessionalProgramattheSchoolofContemporaryDancersaffiliatedwiththeUniversityofWinnipeg whereshecompleteda4-yeardegree Sheapprenticedwith thecompanyWinnipegsContemporaryDancers,and,whilethere,performedforsixseasonsbeforeleavingtoindependentlyproduceshowsandperformcommissionedworks Whileperforming,shealsoworkedasateacher, especiallyinyoungchildren’sdanceShehastaughtmodernjazzballetandcreativemovementindancestudiostopeopleinallagegroupsfromtoddlerstoolderadultsSarahhasalsotaughtinurbanandruralschoolsinManitoba ThroughorganizationssuchasLearningthroughtheArtsattheTorontoConservatoryofMusic,TheIntegratedArts,andEngagingFusion,Sarahhashelpedteachersintegratecurricularlearningthroughdanceandmovement This essentiallymeantusingthecreativeprocessofdancewithelementaryschoolchildrentohelpdeepentheirlearninginmath socialstudies languagearts andothersubjects Sarahisinterestedinchildhooddevelopmentandfinds helpingchildrentolearnthroughinteractivemovementanddanceisrewarding Shehasalsobroughtherskillsinthesemethodstolocaldaycaresandkindergartens SarahhasrecentlyfinishedaneducationdegreefromQueens UniversityintheareaofArtistinCommunityandcurrentlyteachesmusicanddanceinaWinnipegelementaryschool

MOVEMENTANDDANCE

MovementanddancehavebeenapartofhumanlifeforaslongashistoricalrecordshaveexistedMovementhasalwaysbeennecessaryforbasicsurvivalinthesearchforfoodsafetyandhumancompanionshipLivingbeingsneed tomoveDancetomarkritualsandexpressemotionshasbeencommonovertimeandintheactivitiesofallpeople(Kourkouta,Rarra,Mavroeidi,&Prodromidis,2014)Dancemighthaveoccurredforthepurposeofhealing,spiritual expression,celebration,orcommunalentertainment,andformanythismighthavebeenameansofdifferentiatingonegroupofpersonsfromanotheraswellasprovidingopportunitiesforculturalorspiritualexpressionand recreation

Theapplicationofmovementanddanceasmethodsofhelpingandhealingpeople,asindancemovementtherapyorascomplementarytomoreconventionaltalktherapies,isrelativelynew IntheUnitedStates,IsadoraDuncan andlaterMarthaGrahampioneeredinnovativeapproachestodancethatofferednewwaystoexpressexperienceandemotionsthroughdanceGrahambeganadanceschoolinthe1920sthatemphasizedthecapacityandpowerofthe bodytoexpressmood,emotion,andsocialandpsychologicalthemesincontemporarydance(seehttps://wwwyoutubecom/watch?v=ieMO1Z0UhGQforanexampleofdancethatisbasedonGrahamsmethod) Grahamswork providedrichresourcematerialforthedevelopmentofdancetherapyandwasinfluentialinitsdevelopment(Paley1974;Root-Bernstein&Root-Bernstein2003) Dancetherapywassometimescombinedwithpsychotherapy,andotherinfluencesfromtheartswerealsoincluded(Paley,1974)MarianChase,consideredthefounderofdancemovementtherapy(Lohn,1987),workedinhospital psychotherapywithgroupsofpatients Shewasaprofessionaldancer,choreographer,andteacherofdance Likedancemovementtherapiststoday,shesawthepowerofmovementanddance,usuallyaccompaniedbymusic,asa vehicleforcommunicatingthroughthebody’sexpression Therearedancemovement(sometimeswrittenasdance/movement)therapyassociationsinmanypartsoftheworld TheAmericanDanceTherapyAssociation(ADTA) statesthatdancemovementcenterson“movementbehaviorasitemergesinthetherapeuticrelationship Bodymovement,asthecorecomponentofdance,simultaneouslyprovidesthemeansofassessmentandthemodeof interventionfordance/movementtherapy”(https://adtaorg/faqs)MovementanddancecanbenefitawiderangeofindividualsandgroupssuchasthosewhoexperiencephysicalandmentalhealthproblemsTheADTApublishesthe AmericanJournalofDanceTherapyforitsmembersArecentjournalissuecelebratesthe50thanniversaryoftheAssociation,from1966to2016(Devereaux,Kleinman,Johnson,&Witzling,2016) InCanada dancemovementtherapistsareorganizedbytheDanceMovementTherapyAssociationofCanada(DMTAC) whosemissionistocontinuedevelopmentandtrainingandpromotetheprofessionacrossthecountry DMTACreferstodancemovementtherapyasincludedinthefamilyofcreativeartstherapiesandstates: Thisinnovativeapproachtopsychotherapyalignswithcurrentresearchintothebrainandbehaviourandtheimportanceof movementforhumandevelopmentandmentalhealth”and“Increasinganunderstandingofmovementbehaviourenablesnewinsightsintotheconnectionofinnerandouterrealities”(http://dmtacorg) TheDMTAChascompileda listofkeyarticles books andjournalsonmovementanddancetherapyontheirwebsiteathttp://dmtacorg Theydefinedancemovementtherapyinthefollowingway:“DanceMovementTherapyisbasedonthepremisethat thoughts,feelingsandtheexperienceofselfareexpressedthroughthebodyandmovementItisarelationalprocessthatintegratestheemotional,cognitive,physicalandsocialaspectsofself (http://dmtacorg)

Howevernotallthosewhomakeuseofmovementanddanceintheirworkwithpeoplehaveapsychotherapeuticorientationespeciallythosewhousemovementanddancemethodsasacomplementtootherformsofintervention (eg,talk)Movementanddancedonotneedtobecombinedwithpsychotherapybutcanbeusefulindevelopingconfidence,self-esteem,andoverallhealth Althoughdancedoesnotinvolvethecreationofvisualartsorwritingtheexperienceofmovementremainsinthemindofbothparticipantsandtheobserversandcanhaveaprofoundandlong-lastingemotionalimpactIfthedance evokesstrongemotionortouchesachordinsomeone,itsimpactcanbeprofoundandlong-lasting Ofcourseitispossibletoreenactadanceorrecordadancethatcanbekeptonone’scomputerorotherdeviceandviewedover again Research(Murcia Kreutz Clift &Bongard 2010)hasshownthatdancecanincreasewell-beingatemotional social andotherlevels Danceinvolvescoordinationofmovement rhythm andmusic whichcanaffectindividuals groups,andcommunitieswhoparticipateAsMcNeillstatedin1995(citedinMurciaetal,2010,p150), [K]eepingintimetogetherhasbeenafundamentalmechanismforstrengtheningsocialbondsbetweenindividualsandthus aneffectivewaytocreateandsustaincommunities”DanceandmovementalsoconstitutemethodsofphysicalactivityandexercisewhichoffersignificanthealthbenefitsTheseactivitiesarebasedonbeliefs“thatbodyandmindare inseparableBodyandmindinteractsothatachangeinmovementaffectstotalfunctioning (Kourkoutaetal,2014,p230)

Movementanddanceareavailabletoeveryone,nomatterwhattheirlevelofphysicalabilitymightbe Inrelationtodance,SharonTook-Zozayaexplains,“I’vecometounderstandthatnotalldisabilitiescanbeseenwiththe untrainedeye,thateachindividualhasuniqueexperiencesoflifeandphysicalembodiment,andthatinsomeway,weallhavespecialneedsorlimitations”(2011,pp81–82)Shealsonotesthatthereisa“transformationalpotential” indance(p 82) Took-Zozaya(2011)citesfromherworkwithagroupofpeople,somewithprofoundlimitations,hereffortstoencouragetheminexpressionyetrespecteachperson’sautonomy Shedescribedusingamirroring exerciseandascarftoconnectwithadisabledwomanwhowasunabletospeakandwhohadbeenunabletoengageinmovementactivitieswithothersinthegroupTook-Zozayastartedbyusingscarvesdrapingonegentlyoverthe womansheadtoseewhatshewoulddo Fromthissmallgesture,atypeofgamestartedwherebothrepeatedarmmovementswithandwithoutthescarf,raisingtheirarmsupward AsTook-Zozayastates,thetwoofthemwereina kindofdancetogether(p87)MovementcanbesimpleandsmallbutitssignificanceextendsbeyondaseriesofrepeatedphysicalactionsFromthisexampleitisevidentthatinterpersonalconnectionandcreativeexpressionwere occurring(p87)CreativeexpressionthroughmovementcanpromotepeopleshealththroughoutthelifecycleItisalsopossibletoaccommodatechronichealthconditions,disability,andlimitedmobilitybyadaptingmovementand danceactivitiestoindividualneedsandabilities(Lyons,2010)

Inthesocialworkprofession,fewhavewrittenaboutexpressivemovementanddanceapplicationsinpractice ExceptionsincludeworksbyMoe(2014),HussandHaimovich(2011),andMazza(2006) Danceandmovement applicationshavetendedtoinvolvethosewhopracticedance,yoga,orotherphysicalmovementandintegratetheseintotheirworkwithclientsThesemethodsholdmuchpotentialforsocialwork,forexample,whendancemovement therapistscollaboratewithsocialworkersorwhensocialworkersadaptmovementordanceexercisestocomplementtheirpracticewithpeople Therearemanygroupsofpeoplewhocouldbenefitfromtheexpressionandhealing propertiesthatmovementanddanceallow Otherformsofcreativeexpressioncanalsobecombinedwithmovementordance(Cancienne&Snowber,2003;Mazza,2006) Mazza(2006)describesamethodinwhichchoreography andpoetryarecombinedasameansofexpressinggrief InhisRESmethod heintroducesapoem songlyrics orotherwritingtohisclientorstudentandasksforaresponse Thepersonactsthisout Inotheractivities Mazza introducedacollaborativepoemexercisetoagroupofdancestudentswhothenpreparedachoreographeddancebasedonthepoem(2006,p149)Headds, Thepromiseofintegratingdance/movementwithpoetrytherapyspeaksto theinter-relationshipofmind,body,andspirit Thepoeticoccurswhenstoryanddancemergeintoadefiningexpressionthataffirmsourhumanity”(Mazza,2006,p 150) Theauthorcautionsthosewhowishtomakeuseofsuch methodsintheirpracticetoreflectonwhetherthemethodsalignwiththepurposeforapplicationandthatthesetechniqueshavenotbeenwelltested PotentialofMovementandDanceandApplications

ResearchonthebenefitsofmovementanddanceatayoungageshowsandSarahagreesthatchildrendevelopculturallysociallyandphysicallythroughmovementandtheircognitivedevelopmentisenhancedbylearningtomove (Davies,2003)Movementalsoconstitutesexercisethatcontributestogoodhealthinchildren(Kourkoutaetal,2014)andpeopleatallstagesoflife(eg,Guzmán-Garcia,Hughes,James,&Rochester,2013;Oliver&Hearn,2008; Ritter&Low1996)Opportunitiesforself-expressionanddiscoveryofferedthroughmovementanddancecanalsopromotechildren’simaginationsandintellectualability(Pica2009)AccordingtoOliverandHearn(2008)“When childrencreatedances,theyparticipateindecision-makingandlearncooperation Theylearnhowtoobserveanddevelopintoinformedcreators,participantsandspectators (p 6) Childrenwhoareabletoengageincreative expressionthroughmovementordancealsogaininself-esteemandconfidence,especiallywhentheyaresupportedandencouragedtoexpressthemselves(Pica,2009) Inner-citycommunitieswherechildren’slivesmaybeaffectedbypoverty transitionsduetomigration orinstabilityathomecanofferprogramsthatincludeexpressivemovementanddancethatenrichchildren’slearningand sociallife SarahRocheexplains, Ivealwaysbeenreallyinterestedintheideathatwerenotjustlearningmovement,notlearningasetofshapesorpatterns Danceisteachingusaboutmuchmorethanthat Danceisallowing children[andotherpersons]todevelopconfidenceandself-expression”Throughdance sheadds “thereisanopportunityformuchgreaterdepthoflearning:learningaboutwhatitmeanstobeahumanbeing howtointeractwith otherpeople,andhowtobecomesensitivetoyourownbody Sarahreferstothisas emotionaleducation, anditinvolvesthetherapeuticelementsofdanceandtheideaofexperientialdance Creativeexpressionthroughdanceor movementthusoffersopportunitiesforchildrentoacknowledgetheirfeelingsandexpressthemthroughmovementwhentheyfeelsafeJackson(2015)statesthatmovementanddanceconnectpeopletogetherpromotingbondingand belonging Thepoint,asSarahalsonotes,isthatdanceisnotviewedonlyasaperformancebutisanexperienceofbodilyexpression Inotherwords,theprocessofmovementanddanceisfarmoreimportantthanrealizingan outcome

SarahRochehasfurtheredherinterestindanceasanexpressiveartthroughworkshopparticipation(eg attheTamalpaInstituteinSanFranciscoandDMTworkshopwithDr SuziTortora) whereauthenticmovementand storytellingthroughdancewerethefocus(seeTortora,2006) AkeyconceptthatSarahgainedfromherworkindanceandexperienceattheTamalpaInstituteistheideaoflife-artmetaphors Sheexplainedthatinthestudioshe learnedthatdanceactuallyactsasametaphorforhowshecouldliveeveryday Throughsuchmeansascontactimprovisation sherealizedthattheskillsneededtocommunicatethroughdanceandthebodywerethesameskills neededtointeractwithindividualsoutsideofthedanceroomContactimprovisationwillbediscussedfurtherlaterinthechapter DariaHalprin(2003),renowneddancerAnnaHalprin’sdaughter,states,“[W]hateverresidesinourbody despair,confusion,fear,anger,joy willcomeupwhenweexpressourselvesinmovement Whenmadeconscious,and whenenteredintoasamindfulexpression,movementbecomesavehicleforinsightandchange”(p 18) Bymoving(ordancing),itispossibletoexpressone’semotionsandmoodsandtoalterthesethroughaprocessofphysical movementInherrichanddetailedbookcontainingdescriptionsofconceptsandmethods,sheaffirmstheneedforapersonto“becomeawareof,express,andorganizeherlifeexperiences,tomakebothsymbolicandactualchanges whichleadtogrowth”(2003p123)MovementanddancecanhelptobringtothesurfaceemotionsthatthebodyexpressesRagefearjoyhopeandotheremotionscanbereleasedthroughbodymovementsandindoingsothey aremadeavailabletothepersonexpressingthemandtothosewhoobservethem(seeLeseho&McMaster,2011)Throughmovement,thebodyenablesanindividualorgroupprocessaimedatgrowthandhealing(Toviewavideo ofAnnaHalprinage95dancingwithDariaHalprinseehttps://wwwyoutubecom/watch?v=GdpvC0-fi64)

AnexperienceofhealingandtransformationthatclearlydemonstratesbodilyexpressionthroughmovementisdescribedbySouthAsiandancerLataPada(2010),wholostherhusbandandchildreninthe1985AirIndiabombing LataPadawastormentedbyheremotionsandinstinctivelyturnedtodanceinordertoexpressherfeelings Asshestates,“Whilemyworldaswifeandmotherhadbeencruellywrenchedfromme,Icametounderstandthatmy identityasadancerhadsurvived”(Pada,2010,p 154) Padaimmersedherselfinthephysicalmovementofdance,findingsourcesofsupportfromotherfamilymembersandfriends HerHindureligionalsohelpedhertocopewith heremotionalpain Nineyearslater,PadabegantoproduceRevealedbyFire,apersonalnarrativepresentedthroughdance,sounds,images,andmusicaboutherexperienceofloss Firewasametaphorinthisproduction,a frighteningforceaswellasastrengthshedrewfrom stating “Andinthemomentofgreatestpain she likeSita sawthatattheheartofthefirewasitsstrengthanditsweakness andsosheembraceditandfoundthatitembraced her (Pada,2010,p161)Throughperformance,Padapoignantlyexpressesthepainsheexperienced,usingdanceandmovementcombinedwithothercreativemedia,totellthestoryofwhathappenedtoherfamily,andhowshelived andwastransformedAYouTubevideoofpartoftheperformanceExcerptsfromRevealedbyFirecanbeviewedathttps://wwwyoutubecom/watch?v nkEWZvx7cw Justasaprocessofhealingandtransformationcanberealizedinanindividualthroughmovementanddanceandotherexpressiveartforms,danceandmovementcanalsoofferbenefitsbeyondanindividuallevel,forgroupsof peopleindifferentcircumstancesandsettings SarahRoche’sworkasadancerdanceteacherandexpressivedanceandmovementfacilitatorcanbesummarizedasbringingdanceandmovementtopeopleacontributionthatcanopenupthepossibilitiesofphysicalexpression andtheenjoymentofmovingone’sownbody,eveniftheabilitytomoveislimitedAsSarahstates,whenwearestressedandtense,wecannotfeelorexpressourfeelingseasilytoothersbecausewearetootighttofeelanythingWe

areblockedOurbodiestightentonotfeelpainbutthenthebodyistootighttofeelpleasantsensationsThephysicalblockingmayalsobelinkedtoanemotionalormentalblockSuchtightnessandblockingcanbeexperiencedasan impedimenttocreativeactivity However,Halprin(2003)explainsinrelationtosuchblocks, [A]ctivelygivingovertotheconsciousexpressionofanimpasseleadstoabreakthrough Wegointoitcreatively;wesingtheimpasse, dancetheimpasse,orpaintitBlocksarenot‘bad’;infacttheyprovideimportantthematicmaterialforexploration”(p126)AsSarahstates,“[W]henyou’reworkingincontactimprovisationordoinganykindofdancewithanother person,yourbodyneedstobeopentophysicallylistentotheneedsoftheotherpersonIfabodyistense,itcannotlistennorcanitreactfreelyInthesameway,whenoneisemotionallytenseandupset,oneisoftennotabletolisten freelyandopenlytoanotherperson’sperspectiveorfeelingsSometimesopeningaphysicalblockcanthenopenemotionalandmentalblocks,too”

CONTACTIMPROVISATION

ContactimprovisationinvolvesinteractionandresponseinmovementordancethatinvolvesaduetofimprovisationHouston(2009)describescontactimprovisationinthefollowingway:“Headsskimthegroundbuttonsrubagainst noses,legswraparoundarmsandbacksmouldintotorsos (p101)Contactcanbe subtle,powerfullyphysical,gentleorrisky (Houston,2009,p101)Becausethereisnopre-planningofmovementsinthedance,therecanbean elementofriskinvolved Likedailyconversationthatisunplanned eachpersonneedstoreadtheother giveandtakeappropriately sothattheimprovisation thedanceconversation worksforboth Thereareprofessionalcontact improvisationcompanies,butithasalsobeenaformforthosewhoarenottrainedindanceAccordingtoHouston(2009),ithasalsobeenusedbydisableddancersHowever,itislesswellacceptedbypersonsforwhomtouchingand receivingtouchareissuesLettinggoandbeingopentothetouchfromanotherpersonmaybedifficultforsome Mirroring,amethodofviewinganother’sactionsorrespondingtohisorherexpressions,canhelpparticipantsinadancemovementrelationshiptoobserve,beopen,andtofeelempathy Ittakesplacewhen“twopeoplemake similarbodymovementsthatarecoordinatedorslightlyechoedintime”(McGarry&Russo,2011,p 178) Therearetechnicaldescriptionsrelatedtomirroringandhowitworksthroughsensoryinputinthebrain(seeRizolatti& Craighero2004);howeverourinteresthereisinhowitcanbehelpfulinmovementdanceintervention

Mirroringindancemovementactivitiesofteninvolvesmusic,whichbringswithitthepotentialforcoordinationofrhythmandtempoinamultisensoryexperience(McGarry&Russo,2011)Mirroringactivitiescanalsobeusedby therapistswithgroupsandindividuals(eg Wittig&Davis2012)Kinestheticempathytheabilityonabodilyleveltofeelandunderstandwhatanotherisfeelingthroughtechniquesofmirroringandattunementisacoreconceptof DMTtheoryandpracticeandconsideredtobeoneofDMTsmajorcontributionstopsychotherapy(Fischman,2009)Intherapywithcouples,communicationandrelationshipinsightsandgreaterempathyandconnectednesscanbe enhancedthroughmirroringoneanother’sactionsandexpressions Theremaybeotheradaptationsforthisexercisebecauseitishighlyinterpersonalandcanbuildempathyorevenaccentuateconflict Participanttrustinthe practitionerisaprerequisite Insocialwork,complementaryuseofdancemovementinterventionrequiresspecializedskillsinordertounderstandthewaysthatdancemovementcancontributetohelpingpeopleandhowtowork effectivelywiththiscreativemethodasacomplementinsocialworkpractice

ABEGINNING:WALK-DANCETOMUSIC

Awarm-upexercisethatSarahhasemployedespeciallywhenpeoplearenervousaboutparticipatinginmovementanddanceistoeasethemintomovingthroughanindividualwalk-dancewhichisdonetomusicofupbeattempos andrhythmsShelearnedthistechniquefromDariaHalprinattheTamalpaInstituteandhasfounditeffectivewithgroupsTheactivitystartswitheveryonesimplywalkingtomusicthatisbeingplayedAftersometime,participants aregiveninstructionstotrynewwaysofwalking(eg backwards sideways stopping andchangingdirectionswithchangesinrhythmsandtempos) Theparticipantsareaskedtofindawalk-dancepartnerwithoutspeakingandto thenexperimentinattemptingawalk-danceduet Walkingpartnerscanteamupwithanothergroupoftwotocreateawalkingquartet Thisisasimpleactivitythathelpseasepeopleintomovingandcommunicatingthroughtheir bodiesSarah’sexperiencehasbeenthatpeopleenjoythewalk-danceandbegintodevelopbondswithotherparticipants

Beingmindfulofbodysensations,emotionalreactions,andthoughtscanformapartoftheactivitiessothatparticipantscanreflectonpersonalfeelings,leadership,decisionsmadeintheselectionofpartners,andthekindsof actionsandmovementstheyincludeInsocialwork,forexample,suchactivitiescanbehelpfulwithgroupswheretrustandbelongingareimportantItisimportantthattheseobservationsaremadewithoutjudgmentbutarebrought upforthesakeofpersonalgrowthandawarenessTakingastanceofbeingcuriousasopposedtojudgmentaloroverlyanalyticalisanimportantpartoftheapproach

Figure51MovementanddancewithSaraRoche(top)DeanaHalonen(middle)andTuulaHeinonen(bottom)Photousedwithpermissionofallsubjects

InFigure51Roche,HalonenandHeinonenshowthroughmovementandfacialexpressionfeelingsofempowerment,freedomandfear

DANCEPERFORMANCECREATEDBYCHILDRENATACOMMUNITYCENTER

Whileworkingatacommunitycenterwithagroupofchildrenaged6to11SarahwasaskedtohelpcreateacelebrationfortheanniversaryofaspecialcommunityleaderwhohaddiedSheaskedtheeightchildreninthegroupwhat theylikedmosttodoatthecenter ThechildrenthoughtofanumberofactivitiesandthenSarahaskedthemwhattheyweremostthankfulforaboutthecenterandhowtheywouldfeelifthecenterceasedtoexistSarahthenasked thechildrentocreatesomemovementsbasedonwhattheyhadsaidThechildrenwereaskedtocreateashapewiththeirbodiesthatreflectedhowtheywouldfeelifthecenterdidnotexistTheycreatedseveralmoreshapesandthese werethenarrangedintoadancethatreflectedthelonelinessandsadnessatthelossoftheircenterThenextstagewasabouttheirfeelingsaboutbeingthereandwhattheydidwhilethereTheirexpressionswerehappyandjoyfulones andalsodemonstratedhowtheyplayedtogetherwhentheywereatthecenterThechildrenwereconnectedtogetherinthisgroupinitiativeThefactthatthechildrencreatedthedancethemselvesbasedontheirownfeelingsandideas wasimportanttothemandtootherswithstrongconnectionstothecenterFeedbackfromSarah’sworkwithchildrenhasbeenpositiveandhasshownherthatmanychildrenwhoarenotactiveinclassesbecomeenergizedbycreative expressionNotonlydidthedancecreationandsonghaveanimpactonthechildren,buttheyalsotouchedthestaffandcommunitymemberswhoformedtheaudience

ENGAGINGSCHOOLCURRICULUMTHROUGHMOVEMENT

Expressingemotionscanbedifficult especiallyifoneisaskingachildtorelaypersonalemotions Butusingliteraturetoexploreemotions gainempathy andexpressfeelingsisahelpfultooltoallowchildrentoexpressarangeof emotionsSarahrelatedhowchildreninaninner-cityschoolwhowerereadingabookaboutslaveryintheirclassweregivenanopportunitytoexpresstheirideasandfeelingsthroughmovementSheworkedwiththeclassbydividing upthebook’scontentonslaveryintofoursessions:(1)hiding;(2)whatitmeanstobeoppressed;(3)escape;andfinally,(4)freedom Ineachclasssession,Sarahhelpedtheclasstoworkwiththefourconceptstounderstandthe emotionsassociatedwitheachandtoshowhowtheirbodiescouldexpressthesestates Thechildrenalsodescribedwhateachperson’sbodilyexpressionlookedliketothem(eg,lowtotheground,heavy,hanging,andmore) Noticingwhatemotionslooklikehelpschildrenwiththeiremotionaleducation,helpingthemtorelatetootherchildrenandadults

ThechildrenthencreatedamovementwiththeirbodiestoconnectwithwhattheyhadexperiencedaboutfeelingsadorscaredfeelingoppressedescapingandonwhatfreedomfeltlikeThechildrenexpressedfreedombyopening theirarmstoshowjoy,connectingwithoneanother,andfeelingclosertothesky

Thebenefitsforchildrentosafelyexpresstheirfeelingsareconsiderable Usingmovementoffersanotherwayofexploringandlearningaboutthemselvesandtheworldaroundthem AsSarahnotes somechildrenfeelaloneor excludedatschoolforavarietyofreasons,andactivitiesthatengagesuchchildrencreativelycanhelpthemfeelmoreconnectiontooneanotherSuchactivitiescanalsoaidinbuildingempathyforothersandforworkingtogetheron commongoalsOftenchildrenwhoexperiencebullyingorteasingatschoolcanbenefitwhengroundrulesaredevelopedandcreativeactivitiesareskilfullyfacilitated

Asinothercreativeexpressionmethods,thepractitioner’sskillandknowledgeiscriticalbecausefeelingandexpressingstrongemotionsmightthreatenthesafetyofsomechildren However,asSarahremarked,movementand dancetrulyenablethelearningofempathyforothersbecauseitispossibletotryoutsomebodyelse’smovementandtoseewhatitfeelslikeforoneselfincomparisonwithanotherperson Sarahassertsthatoftenteachersare surprisedatthetransformationthatoccursinthesechildrenSomeofthechildrenshehasworkedwithinmovementanddancesessionsremembertheimpactithadonthemmanyyearslater

EXPRESSIONOFMOVEMENTANDVOICEWITHAGROUPOFWOMEN

Sarahalsoworkedwithadultwomenwhostruggledwithdisorderedeating Whenshestartedtoworkwiththem,shebeganbycheckinginandaskingthewomentoshowanactionthatrepresentedhowtheyfeltthatday Whenthe womenweremorecomfortablethewalk-dancewasintroducedbecausethiswasagoodwayforthemtogettoknoweachotherSeveralwomeninthegroupreflectedduringcheck-inbeforethewalk-dancethattheyfelt“nervousand interested, tired, apprehensive, and frustrated, but,afterthewalk-danceexercise,thewomensaidtheyfelt atpeace, awake, playful, energized, excited, and relaxed Althoughtherewassomeanxietyfeltbythe womenlater,perhapsinanticipationoffurtherriskingthroughbodilyexpression,thewomenwereabletoexploretheirfeelingsinwaysthatinterestedandengagedthem Later,thewomenwereinvitedtotryoutthemovementsof otherwomeninthegroupwhilerepeatingtheircheck-inwordthreetimesThisisanotherexampleoftryingonanotherperson’sfeelingormovement

MOVEMENTANDDANCEWITHOLDERPERSONS

SarahdescribedherapplicationofmovementanddancetomusicinaresidenceforolderpersonsinwhichtheaimwassocialconnectionandpromotionofwellnessthroughgroupactivityMostoftheparticipantswereinwheelchairs orhadothermobilitychallengesthatwereaccommodatedbysittinginchairs Theparticipantsbeganeach40-minutesessionwithanamedancewhereeachperformedanactiontoassociatewiththeirnamesandotherparticipants repeateditbacktothem Followingthiswarm-up,Sarahhelpedthegrouptocreateacircledancewithmusic Fromonegroupsessiontothenext,thegroupmembersperformedtheactionswithassociatednamesordevelopednew onesTherewasexcitementandanticipationaboutthisactivityeachweekSarahcreatedaplaylistofmusictoincludesongsthatreflectedtheparticipants’agecohortsforexamplesongsofBingCrosbyandotherspopularinthepast ManywouldjoininbysingingalongandmovingtogetherfromwheretheysatinthechairsorwheelchairsAsSarahremarked,itwaspossibletokicktheirlegsevenwhileseated Itisusefultomakeadaptationswithmovementanddanceexpressionwhenneededsothatthosewithphysicallimitationscanparticipateandtakeaturnleadingthedance Includingpersonsincreativewaysthatmightnothave seemedpossibleisimportantandaddstofeelingsofbelonging AsSarahsaid,“Youcanevenmoveanose,anarm,ahand,oroneleg”(eg,inthecaseofsomestrokesurvivorswithparalysis),anditdoesnotmatterhowmuch movementthereisaslongasthereisparticipationandinclusionEvenifpeoplehavekneesorhipsthatlimitactivity,itispossibletoadaptmovementtoenableparticipationinanactivity

ForSarah andlikelyotherswhoworkwithmovementanddance itcanbegratifyingtoworkwitharangeofagegroupsandpopulations Forexample seeingaparent–childrelationshipdevelopthroughmovementtogetheris meaningfulAsSarahhasobserved,alotoflearningoccursthroughexpressionofmovementbecauseonesbodycontainsindividualstories,notonlymuscles,bones,veins,andbloodSheaddsthatthebodyalsocontainsonesfears andemotionsandexplainsthatmovementanddancearephysicalactivitiesthatincreaseendorphinsandhelppeopletofeelbetterandhappier

ChallengesofParticipatinginMovementandDance

Noteveryonehasfounddanceormovementeasyorevenpleasurable Somemayassociatethesewithunpleasantexperiencesandfearsandfeeluncomfortableoruncertainaboutparticipating Forexample,whenworkingwiththe groupofwomenwhoexperienceddisorderedeating,adiscussionoftheirfeelingsandconcernsaboutmovementanddanceparticipationwasnecessarybeforeevenbeginningtomove Dancecarriesalotofconnotationsforpeople, anditisbesttohaveaconversationaboutthem

Sarahaskedthewomenabouttheirexperiencesinmovementasobserversandparticipantssothatallthethingsthattheysawasdancecouldbediscussed,includingskills,preconceptions,andconcerns Sheaskedthewomento reflectontheirfeelingsaboutdanceormovementFormostbodyimagewasanissuethatgeneratedapprehensionItisusefulshestatestobringintotheopenandacknowledgetheseconcernsanddifficultiesindancingandmoving Sarahstatesthatpeoplemayhaveassociationsofsexinessorotherconnotationswithdanceandfeeluncomfortableaboutthem Sarahrelatesthistoageneralsocietaldiscomfortduetothefactthatwedonottuneintoourbodies oftenAcknowledgingthiswithclientsisimportantbecauseoftenfeelingsandideasneedtobeworkedoutItisnotpossibletoforcepeopletomovebecauseindividualpacingneedstobeconsidered NotingthatoneismovingeveninsmallwaysandthenexploringandtakingrisksonceitfeelssafetodosoishelpfulExplorationeveninsmallwaysopensupideasforfurthermovementStartingwithadiscussionaboutsafety andwithgraduatedmovementcanhelpthosewhoarereluctanttomoveordanceItispossibletoexplorefirstwhatgentlymovingthefingersfeelslikeand,later,graduatetomorevigorousmovementsTuningintoanindividualora groupisthebestwaytodeterminepeople’slevelofcomfortwithmovementanddanceactivities Sarahsaysthatshetriestonormalizemovement,asserting, Weallmove, andmovementisforallpeople Whenwebreathe,wemove Shealsoconnectsmovementtomusicandrhythm,andtotheideathattheexperienceof movementordancecanbeonlyforoneselfnotforothersFormanyperformanceinfrontofanaudiencemeansdancingforsomebodyelseorputtingonashowButdancecanbeexperientialandnotperformativeThiscanhappen bystartingsimply Forexample,drawingcircleswithdifferentbodypartsatdifferentspeeds,firstwitheyesclosedandthenopen,helpspeopletobecomemorecomfortable Thissimplestepgaveherdisorderedeatinggroup participantsachancetoexpressthemselvesbymovingindividuallyandtoacknowledgethateveryoneproducedadifferent,butcorrect,result Asafespacewasalsofosteredfromthissmallexerciseinwhichthewomenclaimed, “Wowwealljustmovedandwealldiditfine”

Music,cautionsSarah,canoverpoweronesinternalsensationofmovementandwillinfluenceimmediatelyhowonewantstomovethebodyAlthoughthatmaybedesirableandhelpful,itisimportanttobeconsciousofitseffects SomeassociationsmightexistwithcertainpiecesofmusicorcertainsongswhichcouldgetinthewayofenjoymentItmaybenecessarytoselectalternativepieces

Somepeoplemayhavelittleawarenessofwhattheyareexpressingthroughtheirbody Bydoingbodyworkthroughmovementanddanceandhaving[anopportunity]toexperimentwithdifferentwaysofmoving,onecanbecome moreawareoftheirpatterns”explainsSarahForexampletensionortightnesscanbechangedintomoreflowingandfreemovementsanddifferentsensationsSarahstatesthatitcanbeusefulforparticipantstoaskthemselveshow theyinterpretthemusicandhowtheywouldliketomovetoit Formany,musicwithabeatorrhythmtendstomotivatethemtomovebytappingthefeet,movingthehead,orgettingupanddancing Suchexperienceswhen incorporatedintodailylifecanpromotewell-being

SAFETYANDMINDFULNESS

AssuggestedearlierinanyinterventionwithclientssafetyneedstobebuiltbeforetheyareabletotakerisksSarahstressesthatshealwaysapproachespeopleintheroommindfullyandwithoutjudgmentaffirmingthatthereisno rightorwrongwayofmoving However,Sarahasksthatparticipantsnoticehowtheyfeelinthemomentandnotethechoicestheymakeintheirmovementsbecausethisawarenesscancontributetosensitivityandmindfulnessthat deepenthebenefitsofcreativeexpression

MindfulnessisnotanewconceptandcanbetracedtoEasternapproachestophilosophyandspirituality,suchasBuddhism(Barton,2011) Withinmindfulnessapproaches,thepracticeofmeditationandmethodsthatenhance mind–bodyawarenesshavebeenusedforhealingpurposes(Rappaport 2014) Thepracticesrelatedtomindfulnesshavebeenintroducedtotheprofessionofsocialwork whereitsusecanpromotehealthandwell-beingamong personsexperiencingmentalhealthproblemsandphysicalillnessessuchascancer(Carlson,2012) RappaportandKalmanowitz(2014)refertotheprofessionaluseofmindfulnessinprofessionalpracticeas simple,yetpowerful transformativepractices”(p 13),andtheycautionagainstitsapplicationintheabsenceofgoodtraining Mindfulnesshasbecomeintegratedintosocialworkandotherprofessionsinhealth,mentalhealth(includingpsychotherapy), artstherapiessuchasdramadanceandmovementvisualartpoetryandmore(Rappaport2014)anditisfoundinmanyhealthcareandcommunity-basedpracticesettingsInmovementanddanceitcanbehelpfulforfocusingand developingonesawarenessinordertoexpressemotionandideas Sarahviewsthebodyas anotherlanguage, whichcanbeavehicleforexpressionthroughmovementratherthanwords Forsomepeople,expressionthrough movementmaybeeasierthanusingwordstocommunicate

GENDER,AGE,ANDCULTURE

Gender,asakeyorganizingfeatureinanysociety,group,andcommunity,shapesthewaypeopleexpressthemselvesandparticipateinactivitieseitherasindividualsoringroups Actionandexpressionmayreflectgendered experiencesandpreferencesInsomesituationsorpopulationsmixed-gendergroupsmaynotbeagoodidea(eg womenwhohaveexperiencedabusebymales)

Differencesamongpotentialparticipantsmayberelatedtogender,culture,age,socioeconomicstatus,orotherfeaturesrelatedtouniquebackgroundorexperience Forexample,amongolderpersons,thegreaternumberofmale warveteransmighthavedifferentneedsandintereststhanwomenwhomighthavebeencaregiversformostoftheirlives Itisimportanttotuneintowhatanindividualoragroupwantsinrelationtomovementanddance,andthe musicthataccompaniessuchactivities Whendanceisassociatedwithonepartneroverthecourseofalifetime itmaybedifficulttodancealoneorwithotherstothesamekindofmusicdancedtointhepast Individualsdonot alwaysrespondinthesamewaytomusic,andsocialworkersneedtobepreparedtoconsiderfirsthowtoanticipateandprepareforuniqueresponsesinindividualsandgroups Forolderpersons,manyyearsofexperiencesprovide memoriesthatcanbeasourcefortriggeredreactions;somemightbeadverseordifficultandothersmightbejoyful

PRACTITIONERKNOWLEDGEANDSKILL

Inanymovementordanceactivities,itisnecessaryforthesocialworkerprovidingservicestobeconfidentandcomfortableinwhatheorsheisoffering Notonlymayparticipantssenseapractitionerslackofknowledge,but providingaservicewithoutadequatetrainingandpreparationisunethicalandmayevenbeharmfulEthicalpracticeisgovernedbyprofessionalcodesofconduct(eg CanadianSocialWorkCodeofEthics)thatareclearontaking onpracticeworkforwhichonehasinsufficientexperienceandknowledge(CASW,2005) Onp 8oftheCASWCodeofEthicsdocument(2005),asectiononcompetenceinprofessionalpracticenotesthatclientshavetherightto expectcompetencyfromthesocialworkersprovidingservicestothemandthatsocialworkersshouldseektoadvancetheirknowledgeandskills,addinginnovationandincreasedproficiencytotheirpractice(seehttps://caswactsca/en/what-social-work/casw-code-ethics/code-ethics)Socialworkerscouldworkincollaborationwiththoseexperiencedinusingdanceasatherapeuticmethodiftheywishtoadddanceandmovementtotheirpractices SarahRochementionedthatthepractitionerwithoutknowledgeaboutmovementanddancemethodswillnothavetheexperienceorknowledgetoguideparticipants,planappropriateactivities,makeadaptationstoactivities,or evaluatetheactivitieseffectivelyParticipantsindanceandmovementactivitiesneedtohaveaccesstoaskilledpractitionerwhoknowshowtointegrateselectadaptordevelopactivitiessuitedtotheneedsofclientsSomeclients mayhavehaddifficultpastexperiencesthatcanaffecttheirwillingnessorabilitytoparticipateAccommodationandadaptationorotherapproachesmaybemorehelpfulMovementanddancearenotsimplyrecreationalexercisesbut areapurposefulpartofatherapeuticprogramthatmayalsoincludeverbalmethods

SomeindividualsmaybefearfulofhowtheywillbeperceivedbyothersorofhowtheywillperformSarahsuggeststhatsinceeveryoneknowshowtowalk(orambulateinsomeway),itisgoodtostartwithwalkingandmirroring activitiesLater,morecomplexmovement,dances,orvigorousactivitiescanbetaught,asappropriateSocialworkpracticethatincludescomplementarymethodssuchasmovementanddancecanoffertosocialworkersnewwaysof workingwithclientswhoseekhealinggrowthandexpression Grouppracticemethodscanhelpclientsbenefitfromgroupsupport,encouragement,andcollectiveexpressionthroughmovementanddance(seeWittig&Davis,2012) Throughregularsessionsofexpressivemovement, participants’experiencescouldleadtopersonaltransformation;thegroupmightexperienceittogetherasrelationshipswithoneanotherandwiththegroupasawholedevelop Groupwork awell-establishedmodeofsocialwork practice,hasbeenshowntobeeffectiveacrossmanyclientpopulationsandsettings(Sullivan,Mitchell,Goodman,Lang,&Mesbur,2003)Whenexpressivearts,suchasmovementanddance,areintegratedingroupintervention,an interpersonalprocessisintroducedthatcancreatedeeperexperiencesforparticipants Socialworkerswhoworkincreativewaysontheirownorincollaborationwithdancetherapistsorotherswithexpressiveartsbackgroundscan offerawiderrangeofoptionstohelpclientsexpressthemselves,gaininsights,healfromillnessortraumatizingexperiences,and,potentially,experiencetransformation Culturalbackgroundmayshapethepracticeofdanceforpeople,anddiverseformsofdanceareknownaroundtheworldCulturalbackgroundorastrongadherencetocertainculturalbeliefsmayplayaroleinthewaymovement ordanceisunderstoodandexperienced(Pada 2010;Waterfall 2011;Wilcox 2011) OneexampleisinIndigenouscultures Waterfall aMétiswomanSunDancerofAnishnabe/OjibwayandEuropeanbackgrounds writesthather practiceoftheSunDanceconnectshertoherculture,hertraditions,andtheCreator,and,accordingtoher, theSunDanceasaspiritualpractice (2011,p 124) ShealsonotesthesignificanceofIndigenouspeoplesconnectionto theenvironmentparticularlythelandandaspecificplacetonaturetoancestorsandtospiritualitystatingthattheknowledgeintheserealms“[has]accruedthroughtimepasseddownthroughouroralandwrittenhistoriessuchas ourpictorialdrawings,legends,stories,proverbs,songs,ceremoniesanddances (p125)Waterfall(2011)referstotheuseofthecircleintheSunDance,explainingthatitreflectstheideathatallofus areconnectedandrelated (p 127) Shealsostatesthatbalanceandharmonyareimportantforthefutureoftheearthandalllivingthings Waterfall(2011)statesthattheSunDance“hascreatedacontextforthehealingandempowermentofmanyAnishnabec People”(p 131),anditisimportantduetotheharmcausedbycolonizationandrelatedeffectsofgriefandloss TheSunDanceallowstheexpressionofmanyemotionsandalsoaffirmstheconnectednessofallpeopletothe environment Onabroaderscalearemovementanddanceinitiativesthataddresssocialinjusticeandseeksocialtransformation Littlewritingisavailableontheuseofmovementanddanceforsocialchange althoughdancehasbeenusedto raiseawarenessaboutsocialissues Inpublicplaces,danceandsometimesotherexpressiveartsmethodsareusedtodrawtheattentionoflargeaudiencesofpeople Manyarethenpostedonsocialmediatofurtherdisseminatethe event

Oneexampleofthisphenomenonistheflashmob,aperformancethatlooksspontaneous(butusuallyisplannedinadvance) Someyearsago,aflashmobfocusedpublicattentionontheneedforresistanceinthefaceofthe enactmentofBillC-45affectingIndigenousrightsinCanadaTheflashmobeventswereheldinanumberofcitiesaspartoftheIdleNoMoremovementForexampletheIndianRoundDanceFlashMobtookplaceinTorontoand otherCanadiancities(somewereheldintheUnitedStatesaswell) Theseeventsnotonlydrewonculturaltraditions,symbols,andartformsbutalsowereeffectiveineducatingthepublicaboutissuesthatconcernedIndigenous peopleandothersinNorthAmerica(seehttp://culturalorganizingorg/idle-no-more-and-the-round-dance-flash-mob/) TheKino-nda-niimiCollective(2014)compiledstoriesfromtheseevents,includingthecollectiveflashmob performancesofrounddancesinanumberofpublicmallsinCanadiancities

Dancethatismeanttoconfrontsocialinjusticecanbeseeningenresthatcomefromthosewhoviewthemselvesasoppressedormarginalized;forexample,hip-hopdanceemergedfrompoorAfricanAmericanneighborhoodsHiphop(includingbreakdancing)representsapowerfulandeffectiveexpressionofemotionandstrongassertivewayofreactingtotheperformer’sperceptionsonhisorherreality(Kent2014)givingtheyouthwhoparticipateasenseof belongingandidentity Thesewere oftenraciallydividedareaswherenon-whiteyouthshadlittleopportunitytoentertainthemselvesinlavishnightclubsorevenhadthemoneytodothis (Kent,2014) Kentdescribeshow,ina SouthAfricancommunity,breakdancingwasuniquelyadaptedtotheinterestsofthisgroupofyouth Healsodescribesdancingasprotest:“By‘breakingthelaw’,andusingpublicpropertytodanceon,inandaround,thestreet becomesasymbolofthefreedomthatthedancershaveovertheirbodiesandtheirlives,eventhoughtheremaybeotherconstraintsonthemasindividualsandgroups”(p174)AsKentnotes,theactofdancing(usuallywithportable music)representsa“wayofbreakingawayfromconventionandconstructingaplaceforthemselvesoutsideofsocialconventions”(p 174) FortheBlackyouthwhotakepart,“itistheyoungandthemarginalisedwhoholdpower, nottheotherwayaroundTheroadbecomesaplayandameanstoreconstructthe‘coloured’body”(p174)Thepotentialofhip-hopandbreakdancingforyouthisalsonotedinseveralotherchaptersofthisbook(seeChapters4and 8)inrelationtotheaterandvideo,inwhichdancerandsocialworkerStephenLeafloordescribeshowhefoundhip-hophelpedhimandthoseheworkedwithasasocialworker(seeBlueprintforLifewebsiteat http://wwwblueprintforlifeca/about/founder/)

Dancethatcommunicatessocialinjusticethroughculturalexpression, choreographicagency, whichcanbecombinedwiththeater,forexample,asintheperformanceofDyingWhileBlackandBrown,producedbyZacchoDance Theater(seePrickett,2016) TheperformanceexplorespossibilitiesofsocialmobilizationbeyondtheperformancetoaddresstheissueofimprisonmentandthedeathpenaltyandtheireffectsonBlackmenintheUnitedStates The choreographyincludesdancerswhotakeoncharactersandperformaroundaframethatresemblesahousethatisalsoajailcell inandaroundwhichthedancersmove(Prickett 2016) Thedancersthentakethetopicsofthe performancetotheaudienceandinvitethemtoengageindiscussion(SeeareviewofZacchoDanceTheater’sperformanceathttp://wwwbostonmagazinecom/news/blog/2015/03/09/dying-while-black-and-brown/)Theseexamples ofmovementanddanceperformancecommunicatetoaudiencesandattempttodemonstraterealitiesandsituationsthatareunjust Theiraimistochallengepeopleandtochangetheirunderstandingofissuesthatoppressgroupsof peopleInsodoing,dance,oftencombinedwithmusicandtheater,canaddressandhighlightsocialinjusticesandworkforsocialchangethroughexpressivearts

COMBININGMOVEMENTANDDANCEWITHOTHERFORMSOFCREATIVEEXPRESSION

Whilemovementanddancemayfittogetherwellwithmusicofallkinds thereisalsoroomtoengageothercreativeexpressionwiththese Forexample some19th-centuryartists suchasWassilyKandinsky heardmusicbeing playedinthecolorstheyusedontheircanvas Movementanddancecanbecombinedwithpaintingorcollageartworktoexploreemotionsthatariseinrelationtooneortheotheractivityinmoredepth Sarahbelievesthatsuch combinationsofexpressiveartscanprovidetherapeuticbenefitsandinsightsforparticipants Forexample,paintingwhilemovingone’sarmsinlargeshapesorrespondingtoimagesorstorieswithmovementscanbegoodwaysto warmupformovementanddanceactivitiesOrinreverseorder,adanceexperiencecanbeanexcellentinspirationforpoetryoravisualartrepresentation INTEGRATIONOFMOVEMENTANDDANCEINTOSOCIALWORK

MovementanddanceexercisesareacomplementforsocialworkerswhodrawfromthemappropriatelyandsafelyfortheirclientsIdeally,consultationwithanexperiencedmovementanddanceexpertwouldbebestpriortoplanning suchactivitieswithclients Socialworkerswhohaveexperienceinmovementanddancethemselvesareinabetterpositiontointegratesuchactivitiesintheirclientinterventions SarahRochereferstoherownworkasusing movementanddanceinhealingwaysthatmaybetherapeutic,butshedoesnotcallherselfatherapistbecausesheisnotacertifiedDMT Shealsostatesthatsocialworkerscanlearnaboutotherformsofmovementthatarehealth

promotingsuchastaichi yoga orqigong Thesecouldbeintegratedintoasocialworker’spracticewhenappropriate Sarahaddsthatknowinghowcertainmovementsanddancesfeelforoneselfhelpssocialworkerstoimagine whattheirclientsmightfeel,anditsuggeststothemhowtheycanpurposefullyandeffectivelyplanactivitieswithspecificgoalsandanticipatedoutcomesinmindKnowingonesownfears,hesitations,andlimitationsisvaluablefor allsocialworkpractitionersbeforetheyworkwithclients HannahBeach,asocialworkerwhousesdancewithchildreninOttawa,engageschildrentocreatedances(seewebsitesathttps://hannahbeachca/andhttp://dandeliondancecompanyca/)usingtheirownchoreographyand includingchildrenwithdifferentabilities ShehasalsoproducedanumberofvideosthatareontheDandelionDanceCompany’swebsite Throughcreativechoreography,childrenandyoungpeopleexploretheirownidentities, viewpointsandvaluesandtheydevelopimportantandtransferablephysicalandcreativeskillsthatcanbefurtherdevelopedastheygrowup Socialworkerswithmovementdancetherapytrainingcanbefoundusingmovementanddancewithpersonsinmentalhealthandotherfieldsofpractice InanarticlebyTraininBlank(2009),onesuchpractitionerdiscusseshis work in a hospital as creating dances with “everyday movements put into sequences” (p 4 online at http://wwwsocialworkercom/feature-articles/practice/BasedonMindBodyConnection%2CDanceTherapyOffersPhysical%2CPsychicBenefits/) Thepurposeofthemovementsistohelpparticipantstoexpresstheirfeelingsand,indoingso,searchformetaphorsabouttheirlivesthatmight enhanceinsightMovementanddance,justlikethevisualarts,music,andtheater,canhelpthosewhodonoteasilyverbalizetheirfeelingsorthoughtsExpressiveartmethodsthuscanofferalternativestospokenwords Jackson(2014)encouragessocialworkerstoembracetheexpressiveartsintheirworkwithclientsbecausetheycanofferbenefitsthatgobeyondtalk Shereferstopeoplelivingwithdementiawhooftenhavecognitivedifficulty thataffectsmemory Shepointsoutthatcreativeexpressionhassometimesbeenusedintheformofartsandcraftsoraprogrammedleisure-timeactivity Althoughsuchmethodscanbeenjoyable,theirpotentialmaybegreaterfor individualswhentheyareusedtherapeuticallywithoutafocusoncompletingaproductsuchasapaintingorcraftitemParticipationinmovementanddancecanenhancethequalityoflifeforpeoplewhohavedementiaEventhough peoplemaynotbeabletorememberdailylifeskillssuchasmakingasalad,theirmemorieswillworkmuchbetterwhenexposedtomusicorvisualart-making Differentpartsofthebrainarebroughtintoactionandresultsmaybe remarkableDementiamaybeaccompaniedbyfeelingsoflossandpowerlessnessbutbeingabletodanceawaltzorsingallthewordstoafavoritesongcanbebothempoweringandmeaningfulforthepersonandoftenforhisorher familyaswellHowever,fewlargestudieshavebeenconductedthatdemonstratethebenefitsofcreativeandexpressiveartsinhealthcaresettings,sotheytendtoremainmoremarginalinhealthcare Opportunitiestoexperimentwithmovementanddancemightalsobeusefulforsocialworkersfortheirownself-careorforprofessionaldevelopmentactivitiestobuildinsightandreflectionontheirpractice Reflectiononthe activitycanalsospurfurthercreativedevelopmentandideasforworkwithclientsItcanalsohelpsocialworkerstounderstandthelimitsofmovementanddanceactivitiesforthemselvesandfortheirpracticework

CONCLUDINGTHOUGHTS

SarahassertsthatthebodyteachesonetobeadaptableItisconstantlymovingandchangingandneverstaysthesame,evenasonebreathesApersoncanlearntotuneintoonesownbodyandbeattentivetominutechangessuchas wheninhalingandexhaling;breathingisconstantmovementAllpeoplecanfeelitaschangeandadapt“Humanbodiesaremeanttomove,”sheadds,“andourmovementcommunicatesideaswhetherweareawareofitornot” Inthischapter,wehavedrawnfromtheexperienceofSarahRoche,adancerandteacherwhohaswitnessedthepowerofmovementforchildrenandadultsandthemeaningitholdsforthosewhoparticipateandlearnabout themselvesandothersintheprocess Wehavealsomadeconnectionstoliterature,video,andwebsitesourcesthatdeepenunderstandingofmovementanddancemethodsinworkingwithpeopleandtheirsituations Fromthese materialsitisapparentthatsocialworkhasarichallyinmovementanddancemethodsinmanypracticesettingsandclientsituationsThereismuchroomtoexploreandcollaborateinthisareaoftheexpressiveartsbecausewriting fromtheperspectiveofsocialworkorbysocialworkscholarsandprofessionalsissparse Severalnewarticles,however,werefoundonpracticeinterventionsthathaveusedmovementordancewitholderadults(Rodio&Holmes, 2017)andinpersonsinrecoveryfromsubstancemisuse(Roy&Manley2017)

QUESTIONSFORREFLECTIONANDSUGGESTEDACTIVITIES

1 Howdomovementanddanceaddtosocialworkinyourfieldofpracticeandwithpersonsyouworkwith?Whataresomeethicalconcernsthatyoucanthinkof?

2 Writeoutaplanforagroupwheremovementordanceisimplementedforaprofessionaldevelopmentdayinyourworkplace Thepurposeofthedaywouldbetoraiseawarenessofdancemovementmethodsandtoinviteparticipantstotryoutsome exercisesthatyoudesignoradaptfromthoseyouhavelearnedabout

3 Howmightyoucombinemovementordancewithsomeotherexpressiveartmethods,suchasvisualarts,poetryortheaterinyourfieldofworkandwiththosetowhomyouprovideservices?

RESOURCES

ForadescriptionofdancetherapyanditsapplicationbyRenaKornblum,aregistereddancetherapistbasedinanAmericanuniversity’ssocialworkdepartment,seehttps://wwwyoutubecom/watch?v j3YgZiWieNk

ForadescriptionandvideosonresourcesaboutmovementanddancewithchildrenandontheDandelionDanceCompanyinOttawa runbyHannaBeach seethefollowingwebsitesathttp://dandeliondancecompanyca/and http://dandeliondancecompanyca/

ForinformationontheCanadianSocialWorkCodeofEthicsandPrinciplesofPractice,seethewebsiteathttps://casw-actsca/en/what-social-work/casw-code-ethics/code-ethics

The video Sun Dance Ceremony that took place in Pipestone Minnesota is available online for viewing at http://wwwbingcom/videos/search? q=Sun+dances&FORM=VIRE3#view=detail&mid=E063758A97BAEFC02B32E063758A97BAEFC02B32

ThisvideowasproducedbyMeechesVideoProductioninManitobaanddescribesthecontextandhistoryoftheSunDanceanditspurposetoday REFERENCES

BartonL(2011)Movementandmindfulness:Aformativeevaluationofadance/movementandyogatherapyprogramwithparticipantsexperiencingseverementalillnessAmericanJournalofDanceTherapy,33,157–181 CancienneM &SnowberC(2003)Writingrhythm:MovementasmethodQualitativeInquiry9237–253 Carlson,L(2012)Mindfulness-basedinterventionsforphysicalconditions:AnarrativereviewevaluatinglevelsofevidenceInternationalScholarlyResearchNotices(ISRN)Psychiatry,ArticleID651583,1–21doi:105402/2012/651583 DaviesM(2003)MovementanddanceinearlychildhoodLondonUK:Sage DevereauxC KleinmanS JohnsonG &WitzlingK(2016)AmericanDanceTherapyAssociationhistoricaltimeline:1966–2016AmericanJournalofDanceTherapy38(2)437–454 Fischman,D(2009)TherapeuticrelationshipsandkinestheticempathyInSChaiklin&HWengrower(Eds),TheartandscienceofDance/MovementTherapy:Lifeisdance(pp33–54)NewYork,NY:Routledge

Guzmán-GarciaA HughesJ JamesI &RochesterL(2013)Dancingasapsychosocialinterventionincarehomes:AsystematicreviewoftheliteratureInternationalJournalofGeriatricPsychiatry28(9)914–924

HalprinD(2003)Theexpressivebodyinlifeartandtherapy:WorkingwithmovementmetaphorandmeaningLondonUK:JessicaKingsley Houston,S(2009)Thetouch taboo andtheartofcontact:AnexplorationofContactImprovisationforprisonersResearchinDanceEducation,10(2),97–113 HussE &HaimovichS(2011) Thehipsdontlie:DancingaroundgenderedethnicandnationalidentityinIsraelBodyMovementandDanceinPsychotherapy6(1)3–16 Jackson,K(2014)ExpressivetherapiesforpeoplewithAlzheimersandrelateddementiasSocialWorkToday,14(1),10–13http://wwwsocialworktodaycom/archive/012014p10shtml Jackson,K(2015)Beyondtalk CreativeartstherapiesinsocialworkSocialWorkToday,15(3)22–25 KentL(2014)BreakingGrahamstown;Breakin’thedanceExploringtheroleofbreakdancingintheconstructionofabreakdancer’sidentityTheJournalofHipHopStudies1(2)168–184 Kino-nda-niimiCollective(Eds)(2014)Thewinterwedanced:Voicesfromthepast,thefutureandtheIdleNoMoreMovementWinnipeg,MB:ARPBooks KourkoutaL RarraA MavroeidiA &ProdromidisK(2014)ThecontributionofdanceonchildrenshealthProgressinHealthSciences4(1)229–232 LesehoJ &McMasterS(Eds)(2011)Dancingontheearth:Women’sstoriesofhealingthroughdanceForresScotland:FindhornPress Lohn,A(1987)ReflectionsaboutMarianChase:AninterviewwithCatherinePasternakandMarionGibbonsAmericanJournalofDanceTherapy,10,11–26 LyonsD(Ed)(2010)CreativestudiesforthecaringprofessionsDublinIreland:Gill&Macmillan Mazza,N(2006)Voicesinflight:Integratingmovement/dancewithpoetrytherapyJournalofPoetryTherapy:TheInterdisciplinaryJournalofPractice,Theory,ResearchandEducation,19(3),147–150 McGarry,L,&Russo,F(2011)Mirroringindance/movementtherapy:PotentialmechanismsbehindempathyenhancementTheArtsinPsychotherapy38(3),178–184doi:101016/jaip201104005 McNeillW(1995)Keepingtogetherintime:DanceanddrillinhumanhistoryCambridgeMA:HarvardUniversityPress Moe,A(2014)Healingthroughmovement:ThebenefitsofbellydanceforgenderedvictimizationAffilia29(3),326–339

Murcia C Q Kreutz G Clift S & Bongard S (2010) Shall we dance? An exploration of the perceived benefits of dancing on

2(2) 149–163 doi:101080/17533010903488582

Oliver,W,&Hearn,C(2008)DanceisforallagesJournalofPhysicalEducation,Recreation&Dance,79(4),6–8;56 PadaL(2010)Revealedbyfire:AstoryofgriefdanceandtransformationInCMcLean&RKelly(Eds)Creativeartsininterdisciplinarypractice:Inquiriesforhopeandchange(pp151–165)CalgaryAB:Detselig Paley,AM(1974)Dancetherapy:AnoverviewAmericanJournalofPsychoanalysis,34(1),81–83 Pica,R(2009July)Canmovementpromotecreativity?YoungChildren,64(4),60–61 PrickettS(2016)Constrainedbodies:DancesocialjusticeandchoreographicagencyDanceResearchJournal48(3)45–57doi:101017/S0149767716000309 Rappaport,L(Ed)(2014)Mindfulnessandtheartstherapies:TheoryandpracticeLondon,UK:JessicaKingsley RappaportL &KalmanowitzD(2014)MindfulnesspsychotherapyandtheartstherapiesInLRappaport(Ed)Mindfulnessandtheartstherapies:Theoryandpractice(pp24–36)LondonUK:JessicaKingsley RitterM &LowK(1996)Effectsofdance/movementtherapy:Ameta-analysisTheArtsinPsychotherapy23(3)249–260

Rizolatti,G,&Craighero,L(2004)Themirror-neuronsystemAnnualReviewofNeuroscience,27,169–192doi:101080/0160951320151066580

RodioA &HomesA(2017)LessonslearnedfromballroomdancingwitholderadultsSocialWorkWithGroups40(1–2)69–76

Root-BernsteinM &Root-BernsteinR(2003)MarthaGrahamdanceandthepolymathicimagination:Acaseformultipleintelligencesoruniversalthinkingtools?JournalofDanceEducation3(1)16–27doi:101080/15290824200310387225

Roy,A &Manley,J(2017)Recoveryandmovement:Allegoryand journey asameansofexploringrecoveryfromsubstancemisuseJournalofSocialWorkPractice,31(2),191–204doi:101080/0265053320171305336 SullivanN MitchellL GoodmanD LangN &MesburES(2003)Socialworkwithgroups:SocialjusticethroughpersonalcommunityandsocietalchangeBinghamtonNY:HaworthPress Took-Zozaya,S(2011)Dancingwith(dis)abilitiesInJLeseho&SMcMaster(Eds),Dancingontheearth:Women’sstoriesofhealingthroughdance(pp81–93)Forres,Scotland:FindhornPress TortoraS(2006)Thedancingdialogue:UsingthecommunicativepowerofmovementwithyoungchildrenBaltimoreMD:PaulHBrookes Trainin Blank B (2009) Based on mind-body connection dance therapy offers physical psychic benefits The New Social Worker Retrieved from http://wwwsocialworkercom/feature-articles/practice/BasedonMindBodyConnection%2CDanceTherapyOffersPhysical%2CPsychicBenefits/ WaterfallB(2011)SunDancingasservicetoMotherEarthandallofcreationInJLeseho&SMcMaster(Eds)Dancingontheearth:Womensstoriesofhealingthroughdance(pp123–136)ForresScotland:FindhornPress WilcoxH(2011)Movementinspacesofliminality:ChinesedanceandimmigrantidentitiesEthnicandRacialStudies34(2)314–332doi:101080/014198702010528439 Wittig,J,&Davis,J(2012)Circlesoutsidethecircle:Expandingthegroupframethroughdance/movementtherapyandarttherapyTheArtsinPsychotherapy,39,168–172

Storytelling,Poetry,Writing,andtheArtofMetaphor

ELIZABETHKRAHN

CONTEXT:STORYMEANING-MAKINGANDSOCIALWORKPRACTICE

HumanshavebeenmakingmeaningofandstoryingtheirlivesformillenniaproducingoraltraditionsmythsandlegendsaboutpastworldswhichhaveservedtocreateandpreservediverseculturalidentitiesaroundtheglobeOver thecourseoftimeandtheevolutionofcivilizations,newcontextsandexperienceshavecreatednewmeanings,narratives,andformsofexpression;andnewmeanings,narratives,andexpressionhave,inturn,stimulatednewcontexts andexperiences allofwhichhavespokenoftheinterplaybetweenharmonyandstrife Itisnotsurprising,then,thatformanyculturalgroups,thewordsforstoryandhistoryaresynonymousStorytellingisonewaythatpremodernpeoplesallovertheplanettransmittedcollectivememory,drawingwisdomfromtheir collectivepastsandguidingfuturegenerationsanoraltraditionstillvaluedandpracticedtovaryingdegreesbymanyIndigenousgroupstodayTraditionalstorytellinghasthepotentialtouniteandanchoragroupofindividualsina collectivesenseofmeaning,identity,andbelonging,andtoempowerthemtospeakofwhotheyareinrelationtotheworldofcreationandthecosmosIttendstoberelationalandinclusive,placingtheindividualwithinthecontextof alargercollectiveexperience,anditprovidesreferencepointsbywhichtonavigatethroughlifeanditschallenges,andarchetypalcharactersonecaneasilyidentifywith

InALongWayGone:MemoirsofaBoySoldier IshmaelBeah(2007)attimeshearkensbacktotheprewaryearsinSierraLeonewhenhisfamilyandvillagewerestillintactandpartookinlongeveningsofstorytellingunderthe starlitandmoonlitsky Notonlyhashedrawnsustenancefromthefoundationalcommunalmemoriesandstoriesofhisearlychildhoodpriortothetragedythatbefellhisfamilyandhispeople,buthehasalsoengagedinahealing journeythroughwrittenandoralpresentationsofhislifestorywhichprovidereadersandlistenersaliketheopportunitytowitnessapersonalaccountofahighlytraumaticlifeexperienceandgainadeeperappreciationofthecomplex sociopoliticalandsystemicissuesthatcandramaticallyimpactthelivesofinnocentchildrenThevalueofwitnessingtheother,inotherwords,authenticlisteningtothelivedexperienceofanotherhumanbeing,cannotbeoverstated Suchlisteningencouragesmutualsharingandappreciationofcorehumanandemotionalexperiencescommontoallindividualsregardlessofracecultureandanyotheroutwarddifferencesanditpromotesempathyaqualitywhich inturn,promotesconnectionandinclusivity(White&Epstein,1990)

Withtheadventoftext(andfilm),oraltraditionswherethestorytellerpersonallyengageswithhisorheraudiencehavewanedovertimeandbeenallbutreplacedbylibraries,bookstores,television,andmovietheaters,rendering therelationshipwithstoryanincreasinglysolitaryexperienceStorieshavetoagreatextentbecomeasourceofentertainmentandattimesareplacementfororescapefromtheabsenceofrelationshipIoncemetanindividualwho reliedonwatchingmoviestobetterunderstandwhathealthyfamilyrelationshipslookedlikebecauseoftheabsenceofauthenticconnectionandrelationshipinherlife Inmysocialworkpracticewitholderadultsstrugglingwith complexmentalhealthissuesandaccompanyingsocialisolation Ioftenfoundclientsaddictedtosoapoperasorwithradiosandtelevisionsonalldaytobreakthesilenceoftheirexistence asmanyhadfewlinkstomeaningful relationship Ayoungsinglemotherproppedupher9-month-oldbabyinhisbaby-chairtodistracthimwithacartoonduringoneofmyhomevisits Wealsoseeincreasinglevelsofsocialandemotionalisolationanddisconnectin today’sworldwiththeprevalenceofsocialmediaThisstoryrequiresmoreconsciousattention

Acommonthreadthroughoutdifferentnarrativeformsthathaveemergedovertimeisrelatedtothesymbolsandmetaphorsembeddedintheexperiencesandstoriesthatgovernourlives notonlystoriesweconstructabout ourselvesandtheworldweliveinbutalsothosewhichothershaveconstructedaboutusthatinfluenceourperceptionofselfandotherand,thus,stronglyimpactourownlife,howwemakesenseofit,andwhatresourcesweareable toaccesstomoveforwardWhereasprominentmetaphorsintraditionalstoriestendedtofocusoninterconnectednessandcollectiveresponsibilitystoriestodaydonotcarrythisvalueofinclusivityWeseemanydiverseanddivisive narrativesinthelargercommunityandthemediathatcenteronindependenceandindividualism,which,inturn,encouragethestigmatization,marginalization,and/orpathologizingofthosewhofailtomeetcertaincriteriadueto economichardshipmentalhealthissuesculturalorreligiousbackgroundandmanyotherfactors

Inthehelpingprofessions,therehasbeenanevolutionintheartofusingstorytoengagewiththesegrowingindividualandsocialissuesWhenunderlyingmetaphorsnegativelyshapeandcastlimitationsonthelivesofindividuals, groups,andcommunities,thecapacityforindividualandsocialchangecanbesupportedbyidentifyingmorelife-givingandtransformativemetaphorsthathelppeopletoreframeorrestorytheirlives Thischapterexploresthe integrationofstorytelling,poetry,expressivewriting,andothercreativenarrativeformswithsocialworkpracticeandresearchtostimulatepersonalandsocialchange

TRADITIONALSTORYTELLING:THETRANSFORMATIONALPOWEROFSTORY

LewisMehl-Madrona(2007),inhisbook,NarrativeMedicine:TheUseofHistoryandStoryintheHealingProcess,tellsusthatindividualimbalanceanddiseaseisregardedbyIndigenouspeoplestobeanoutcomeofmultiple systemicissuesrelatedtolackofharmonyandcollaborationwithinthecontextofthelargercommunityandthenaturaldiversityofalllivingthingsTraditionalstoriesmetaphoricallyreflectthiswisdomandholdthepowerespecially whenembeddedinagrouporcommunityexperience,torestoreharmonyandbalancewithintheindividualandintherelationalfieldAsamedicaldoctorwithIndigenousroots certifiedinfamilypractice,geriatrics,andpsychiatry Mehl-MadronahasintegratedIndigenousstorytellingwithmedicalpractice,ratherthanfocusingprimarilyonmedicalorpsychiatricdiagnoses(pathologyordeficitmetaphors)whichproblematizetheindividual Hisintentisto engagethepatientinastorythatinspirestheabilitytotranscendthelimitationsofteninherentinmedicalnarrativesthussettingthestageforalternatestoriesofhealingandrecovery(Foraninterestingdiscussionoftraditionalstory andceremony,refertoChapter8:TalkingwithMentalIllness,inMehl-Madrona,2007,pp 199–219)Thissameprinciplecanbeintegratedintosocialworkpracticesettingswherepresentingproblemsofclientsareoftenprimarily addressedasindividualproblemsratherthancommunityorsocialjusticeissuesrequiringsystemicchangessuchasthoserelatedtomentalhealthaddictionspovertyhomelessnessorracism TheessenceoftraditionalstorytellingengagesmultipleaspectsoftheselfwithinagreateruniversalconsciousnessItdrawsfromconcretelifeexperiencesintandemwiththesubtlebutdeepwisdomandspectrumofemotionsheld inourbodiesmindsandsoulsWhenthisisdeeplyfeltyethardtoarticulateitcanbeaccessedorexpressedthroughsymbolicrepresentationandmetaphorforexampleintheformofpoetryormythicaltalesAdditionallywemay drawstrengthfromhearingorreadingthestoriedexpressionsofotherswhoseexperienceresonateswithourown Thesepoignantexpressionsmaytouchthatcoreplacewithinandopenthefloodgateforemotionalreleaseorsimply enableustorecognizeinametaphoricparabletheopportunityforatransformationaloutcome anewperspectiveonwhatispossible Thisprocessbypassestheintellectualorrationalmind,whichmaybetrappedinunyielding mentalconstructssuchasdeficitperspectivesthatprecludenewlearningandopportunitiesforgrowthandchangeThelanguageoftheexpressiveartsisnotbasedinrationalthinking StorytellersasAgentsofPersonalandSocialTransformation

LauraSimmsaworld-renownedstorytellerfromwhomIhadtheopportunitytolearnmoreabouttheartofstorytellingatanannualWinnipegInternationalStorytellingFestivalorganizedbytheArthurVMauroCentreforPeaceand Justice(https://umanitobaca/colleges/stpauls/maurocentre/events/1083html)andanexpressiveartsworkshoporganizedbytheWinnipegHolisticExpressiveArtsTherapyInstitute(http://wheatinstitutecom/),hasbeeninvolvedin numerousinternationalstorytellinginitiativestoaidpeopleincrisis SomeexamplesareaprojectwithRomawomeninRomania,youthprogramsrelatedtopeacebuildingandconflictresolution,andyouthstrugglingwith postconflicttraumaeffectsanddisplacement(Simms,2003,2009b,2011b)Shedrawsfromthetransformationalpoweroftraditionalstories(Simms,2002,2011a)anddevelopscreativestorytellingprogramsthatengageandseekto transformtheverydifficultstoriesofthepopulationssheworkswithThroughstorytelling,itbecomespossibleforindividualsto“imaginealternativeendingstolifestories”(Simms,2009a,p6)

ENGAGINGTHELISTENER

Simmsremindsusthat“[we]areallinneedoftrustingtheinnerresourcesthatwehaveashumanbeings”offindingtheselfwithintheheart(2009ap8)Herpremiseisthat“[within]eachindividual[lie] theinherentseedsof goodness,compassion,resilienceandwisdomthatareactivatedthroughstorytelling (p 5) Healingstoriesthusevoketheinnatewisdomandimaginationofthelistener,whichserveasprotectionfromthestressesofcontemporary lifeDrawingfromstoriesfromaroundtheworldSimmscreatesanatmospherethatbringsthelistenerintothenarrativeListeningbecomesabodyandmindexperienceasthestorycomestolifewithinandengagestheimagination

IDENTIFICATIONWITHCHARACTERANDPLOT

Simmsexplainsthatthelistener vicariouslyexperiences thedynamicsandplotofthestory,identifieswithitscharacters,confrontsobstaclesanddanger,andovercomeschallenges Intenseemotionsreflectedinthestorycanbe safely“confrontedwithoutshame”astheyareembeddedinthenarrativebutnotinternalizedbythelistener Thus storiescanbringthelistenerto“therootcausesofproblems”assistindealingwithmanykindsofissuesand dilemmas,and guide[individuals]throughsubtlestagesofemotionaldevelopment (Simms,2009a,p7)

OTHERSTORYTELLINGSKILLS

Simms(2014)identifiesthevalueofface-to-facecontactbetweenthestorytellerandthelistenerandattentivepreparationofthephysicalandpsychicspacebeforethetellingofastory Wheneverpossible,therearebenefitsfrom tellingratherthanreadingastorytoothersbecausethisallowsgreaterspontaneityindeliveryaswellaseyecontactbetweenstorytellerandlistenerMoreover,itbecomespossibletoadaptthestorytothelistenerthroughspontaneous andintuitiveimprovisationWemaywishtobeopentostoryrevisionsinordertobemoresensitivetotheuniquesituationorneedsofthelistenerForexample,inmytellingofoneofSimms’sstories,TheGiantWhoHadNoHeart (adaptedfromatraditionalfairytaleandrewrittenbyLauraSimms inSimms 2009a pp 19–22) tooneofmycounsellingclients Iadapteditbycreatingmetaphorsthatshedlightonapossibleprequelorbackgroundtothestory howthegiantlosthisheartInthiswaywecouldbegintoexplorewaysinwhich,whenemotionallyvulnerable,theheartmayshutdowninorderforustofeelmoreresilientandwhatwemightdotowakeitupagain

MaryLouiseChown(2011)anartistandstorytellerinWinnipegCanadadescribesherintuitiveapproachtoworkingwithterminallyillpatientsinhospitalhospiceandpalliativecaresettingsandprovidesselectedfolktalesand patients storiestodemonstratethepowerofstorytellinginthesemedicallyorientedsettings Sheentersintoapatientspersonalspaceverygently,withfew,ifany,preconceivedideasofhowhervisitswillunfold oftenwithher dulcimerorautoharp Thisrequiressensitivitytothereceptivityoftheindividualtohavingavisitandtuningintotheindividual’smoodandemotionalneedsinthatmoment Chown(2011)describeshervisitswithtwohospice residentsasfollows:

RoseandAgnestaughtmehowtobewithsomeonewhoisdyingWhileitmightbetruethatIhelpeddistractthemsomewhatfromtheirpain,theywereguidingme,teachingmehowtolisten,howtobepresentforthem,puttingasidemyownegoand anyexpectationsforaparticularoutcomeOncethishadhappened,theywereabletoshowmewhattheywantedmetodoforthemAndwhattheywantedmetodoforthemwasmerelytobepresenttolistentothemtobecuriousaboutthem,andthen comeupwithastoryasongorapoemthatwasinspiredbyourconversations(p64)

Inthiswaypatientshadtheopportunitytonotonlylistentoastorybuttoreminisceandreviewtheirlivesshareimportantmemoriestelltheirownstoriesandfeelvaluedandhonoredattheendoftheirlives Thus,thetellingofastorycanbecomeaparticipatoryanddynamicprocessofcocreationthatservestoempowerthelistenerSimms(2014)describesonesuchoccasion,whensharingastorywithagroupofyoungchildrenwhose commentswereintegratedintothestory:

FormetoincludeeveryonesignaledtothechildrentheunspokenfactthatthemostimportantaspectofthejourneywasourparticipationtogetherForastorytellerbeingpresenttotheactualityoftheroomexpandsthejoyandthefocustremendouslyAn innerknowingofconfidencearises Itisasiftheyaresayingwiththeircontinuedfocus “Iamabletonotonlylearnandparticipate,butinfluencethethingsthathappeninmylife”Thereisacombinationofdisciplineandspontaneitythatcolorsthe storytellermovingitfromtheterritoryoftextintoalivingart(Seehttp://wwwlaurasimmscom/2014/08/31/fieldnote-1-telling-young-children/#sthashqWPOBOaHdpuf) Simms(2014)alsoemphasizesthatworkingwithgroupsofyouthoradultswhohaveexperiencedconflictandtraumarequiresaskilfulstorytellerwhoisabletocreateasafegroupatmospherethatsupportsrespectfulandactive listening Thestorytellersetsandsustainsthetoneofthegroupexperience,intuitivelyusingstoryandinvitingthevoicesofparticipants allthewhileholdingthevibrationofstoriestoldatthelevelofsacredandmythical Inthis way,participantsarenotretraumatizedintheprocessandareabletofeelheardandvalidatedwhilealsodevelopingempathyforothers Thisexperiencecancontributetocatharsis,involvinganemotionalreleaseorachangein perspectiveStorytellingiswidelyusedbyprofessionalsandnonprofessionalsalikeforpersonalandcollectivegrowthandhealingwithyoungandoldexperiencingawiderangeoflifetransitionsandtraumas(seeResourcessectionat theendofthischapter)

EMERGENCEOFPOETRYTHERAPYANDINTEGRATIONINTOSOCIALWORKPRACTICE

PoetryandmetaphorhavetosomeextentbeenvaluedinthepracticeofsocialworksinceitsbeginningsinthesettlementmovementwithJaneAddams(Getzel,1983),andMaryRichmond(1930)andtheCharityOrganization SocietyHowever,itwasnotuntilthemid-20thcentury,whenpoetrytherapybecamemoreestablishedinpsychotherapeuticdisciplines,thatitwasmoreconsciouslyadoptedwithinthefieldoffamilysocialwork(Mazza,1996)Itis importanttoclarifyatthispointthatthetermpoetrytherapydoesnotreferexclusivelytopoetrybutincludesvariousformsofstoryandwriting theessenceofwhichistheuseofmetaphor AsignificantportionofthetheoreticalfoundationfortheuseofpoetrystoryandwritingintherapyisdrawnfrompsychoanalytictheorywithreferencetoFreudandJungaswellasAdlerianGestaltandpsychodramatictheories TheresonancebetweenpoetrytherapyandpsychotherapywasattributedtothesignificantroleofsymbolandmetaphorineachmodalityHowever,whileFreudhadbeenconcernedwiththepathologythatmayliebeneaththesymbols

andmetaphorsusedbyhispatientsJung highlyregardedintheexpressiveartscommunitytoday sawtheseashavingemergedfromaninnatecreativitywithineachindividualadramaticallydifferentfoundationalpremise(Mazza 2003)

Itwasin1963thatEliGreifer,anAmericanwhoplayedakeyroleinthedevelopmentofpoetrytherapy,publishedapamphletcalledPrinciplesofPoetryTherapyandlaidthefoundationforfurtherdevelopmentofthiswork(see https://poetrytherapyorg/indexphp/about-napt/history-of-napt/) FormalrecognitionofpoetrytherapywasfurtherachievedwiththeestablishmentoftheAssociationofPoetryTherapy(APT)in1969,whichin1981became incorporatedastheNationalAssociationofPoetryTherapy(NAPT,http://wwwpoetrytherapyorg)Bythistime,manyoftheprofessionalsusingpoetryandstoryincludedpsychotherapists,socialworkers,andcounselorsThoughit hasreceivedincreasedattentioninfamilypracticewiththeemergenceofnarrativeapproachesandconstructivisttheorywhichholdsthatthroughexperiencereflectionandmeaning-makingpeopleconstructtheirowninterpretation andunderstandingoftheworld,theapplicationofstoryandpoetryisincreasinglyseeninallformsofsocialworkpractice,includingthatdirectedatsocialchange,aswellassocialworkeducationandresearch

NicholasMazzaisacontemporarysocialworkscholar poet andregisteredpoetrytherapistwhohaswrittenextensivelyabouttheapplicationofpoetrytherapyinsocialworkpracticeandresearchfrom1979tothepresent He describespoetrytherapyasfollows:

PoetrycanbedefinedwithrespecttoliterarygenreorthequalitiesoraspectsoflanguagethatcreateanemotionalresponseTheemphasisisonevocativelanguagePoetrytherapyinvolvestheuseofthelanguageartsintherapeuticcapacitiesInaddition totheclinicaluseofpre-existingpoemsinvariousmodalitiesthepurviewofpoetrytherapyincludesbibliotherapynarrativepsychologymetaphorstorytellingandjournalwriting(Mazza1993citedinMazza2003Introductionpxvii)

Mazza’sMultidimensionalPoetryTherapyPracticeModel

Mazza(2009)promotesthecreativeuseoflanguage,symbol,andstorytoenhancerecognitionoftheuniquehistories,contexts,andstrengthsofindividuals,groups,couples,andfamilies,andtofacilitateexpression,communication, conflictresolutionandmeaning-makinginatherapeuticsettingHealsoidentifiesthevalueofother“poeticelements”suchas“reframingbehavioralenactmentsculptingmusicgenogramsscriptsandfamilydrawings”ineliciting creativeexpression(p4)

Mazza(2003 2009)providesamultidimensionalpoetrytherapypracticemodelwiththreedistinctiveapproaches “Receptive/prescriptive”approachesinvolvetheuseofexistingpoetrythatisinresonancewiththemoodor circumstancesoftheclientandcanservetoevokeandvalidatefeelings,promoteself-expression,andadvancepersonalandgroupprocess,whereas expressive/prescriptive approachesinvolvefacilitatingtheclientsownexpressive writingintheformofpoetry,letters,journaling,orastory(Mazza,2009,pp 5–6) Bothprovideasafecontextandstructurefortheexpressionofvulnerablefeelings Mazza(2009)furthernotesthat“[p]oetryandotherformsof writtencommunicationallowtheindividualtoprojectaspectsofselfprovideameasureofcontrolandserveasanemotionalsafetyvalve”(p6)Heprovidesafewexamplesofhowtostimulatethewritingprocesssuchastheuseof open-endedsentencesorprovocativewords Whenworkingwithcouples,families,orgroups,thesocialworkercaninvitetheconstructionofacollaborativepoemwhereeachmemberaddsaline Thispotentiallyallowsforthe externalizationofproblems collaborativeproblemsolving enhancementofinterpersonalrelationships andfamilyorgroupcohesion “Symbolic-ceremonial”approachesinvolvetheuseof“metaphors rituals symbols storytelling andperformance asameanstodealwithlifetransitions suchas divorce,geographicalrelocation,[retirement],death,andloss (p 6) Mazzaemphasizestheimportanceofusingthesemethodswithintheboundariesofones professionalrolesandabilitiesandtobeconsistentwithaprofessionalpurposeorplan

POETRYANDSTORYAPPROACHESANDAPPLICATIONINSTRENGTHS-BASEDSOCIALWORKPRACTICE

Furman,Downey,Jackson,andBender(2002)speaktothevalueofpoetrytherapyasastrengths-basedsocialworkapproachStrengths-basedapproachesareacriticalcomponentofsocialworkpracticeandinvolvethepremisethat allindividualshaveresourcesandstrengthswithwhichtobettermanageormovebeyondthelifeissuestheyexperience Thisshiftsattentiontoclientstrengthsratherthandeficitsandencouragesthedevelopmentofpersonalstories thatsupporttransformationandgrowth DrawingfromCowgerandSnively(2002,p 106),whopositthat“[d]eficit,diseaseanddysfunctionmetaphorshavebecomedeeplyrootedinthehelpingprofessions,shapingcontemporary socialworkpracticethroughtheemphasisondiagnosisandtreatmentofabnormalandpathologicalconditionswithinindividuals,”Furmanetal (2002)promotetheuseofstrengths-basedmetaphorsinsocialworkpractice,with poetrytherapyasonewayforclientstoreauthortheirlivesbydevelopingalternatemetaphors

Toillustratethestrengthofthisapproach,Furmanetal(2002)describeagrouppoetryprocesswithformerpatientsofastatepsychiatrichospitalsystemThisprocessinvolvedthreephases:(1)informationonthebasicsofwriting poetry;(2)thereadingofexistingpoetryonthemesmutuallyselectedbysocialworkerandclients themeswhichfittheircircumstances;and(3)reflectingonthepoetryread discussingthereadings writingtheirownpersonal poems,andthensharingwiththegroup Theauthorsnotethatmetaphoriclanguagecanhelpclientsmoresafelydiscussissuesthatareoftentoopainfultoaddressdirectly Clientsrecognizedthroughthisprocessthattheir marginalizedsocializationwasnotprimarilylinkedtomentalillness,butrathertotheeffectsofyearsofinstitutionalizationandloneliness Asaresult,clientswereabletodevelop,andidentifywith,newself-descriptivemetaphors; begintoengageinlessself-blame;andincreasinglyseethemselvesascapableofmakingpositivechangesintheirlives

Furmanetal (2002)alsodescribeacollaborativepoetrywritingprocessthatdealtwiththeissueoffearinagroupofwarveterans Thiseliciteddiscussionaboutwaysofcopingwithdifferentfears,whichfosteredgroup cohesivenessinterdependenceandempathy;thecreationofnewmetaphors;andtheexplorationofnewbehaviorsinkeepingwiththesemetaphors Theemergenceoffoundpoetryisworthyofmention,thoughitsuseinsocialworkpracticeisnotyetprominentintheliteratureFoundpoetryinvolvestherearrangementofpre-existingfragmentsoftextfoundinanotherprimary sourcesuchaswordsandphrasesfromapoemstorymediasourceorspokenwordThecreationoffoundpoetrycanbecatharticwhenexperiencingacrisisorlifetransitionByidentifyingkeywordsandphrasesthatresonatewith theirexperience,individualscanproduceapoignantexpressionoftheirlivedexperienceorevencreatetransformativemetaphorsthathelpthemtomoveforward Foundpoetrycanalsobeverypowerfulwhendoneinconjunction withimages,forexample,inthecreationofacollage Itisnotonlyapowerfultoolforself-expression,butitcanalsobeacollectiveexpressiontopromoteawarenessofsocialissues Insocialworkpractice,thecollaborativepoem hasbeenregardedasoneformoffoundpoetry(eg Furmanetal 2002;Schnekenburger 2006) In“AThoughtExercise:ThinkingThroughtheFoundPoetryofCanadianAbortionProviders”ShawandHaney(2017)discussthe valueandpotentialroleoffoundpoetryinsocialworkpracticeandresearch

ThecapacityforaskilfulpoetryinterventiontopromotehonestyacceptanceempathyconnectednessandbelonginginagroupcontextisalsodemonstratedbySkudrzyketal(2009)withagroupofadolescentsinrelationtothe issueofbullying specifically,thespreadingofrumorsthroughgossipNothavinginitiallyidentifiedthetopicfordiscussion,acounselorreadapoemaboutgossiptothegroup,entitledNobodysFriend(Anonymous,nd)Leaving outlinesidentifyingthetermgossipitselfthecounselorprovidedaglaringdescriptionofgossipwithphrasessuchas“ImaimwithoutkillingIbreakheartsandruinlives”(Skudrzyketal 2009p254)Oncegroupmemberswere abletoidentifygossipandtheyfoundthattheexperienceofbeingthetargetofgossip,aswellasthesourceofgossipaboutothers,wasonetheyallshared,thefacilitatorguidedthemthroughaprocessofreflection,discussion,and activelisteningregardingthefeelingsengenderedasaresultofgossip,suchasisolation,fearofrejection,anxiety,anddepressionThisfosteredgreatermutualunderstandingandacceptanceaswellasgroupcohesion InmycounselingpracticeIamincreasinglyintegratingstoryandmetaphorwhichhelpstocutthroughcomplexclientscenariosoftentrappedinconfiningthoughtpatternsInexploringthephenomenonofemotionalshuttingdown inparticularclients,eitherduetomultiplestressors,crisis,ortrauma,Iwasinspiredtowriteashortstory,TheKingdomThatLostItsHeart,whichmetaphoricallycontextualizestheexperienceofshuttingdownandprotectinga vulnerableheartatgreatcosttopersonalandcollectivewell-being Italsoprovidesameansoftransformingthatoutcomeindividuallyandcollectively andwakinguptheheart Thiscreativeprocessnotonlyhelpsmetosee and articulatethroughastory,thehiddenpotentialwithinclientstotransformtheirlivesdespitetheapparenthopelessnessoftheircircumstances,butitalsoprovidesclientswiththeimportantmessagethattheiroutwardpresentationis hidingandprotectingavulnerable,thoughpowerful,aspectoftheiridentitythatneedstobeacknowledged,validated,andreclaimed Thisstory(seeBox61)isalsoonethatlendsitselftogreensocialworkandthesignificanceof place,asitspeakstotheinterconnectednessofhumanswiththeirenvironmentandecology,thedamagedoneintheabsenceoftheheart,andhowtoonceagainawakentheheartindividuallyandcollectivelytorestorehumanityand ournaturalhabitat

Box61

TheKingdomThatLostItsHeart

OnceuponatimeinafarawaylandwasakingdomofgreatradianceandbeautyEveryonewhopassedthroughthekingdomaskedthemselves:“Whatgivesthiskingdomsuchbeauty?”Somesaiditwasitsgreatwealthforallofits buildingsweremadeofgold Otherssaiditwasitsbeautifulmountains,lakes,andforestsaboundingwithwildlife,andtheabundanceofitscropsandorchards Stillotherssaidthattheyalwaysfeltwelcomednomatterwhomthey encountered,foragreatspiritofhospitalityalsoaboundedinthiskingdom Everydaywasnotonlyproductiveinitscompletionoftasks,responsibilities,andcreativeventures,butalwaysclosedwithfeastingandcelebration,with storysonganddance

NowtherelivedinthiskingdomayoungprincewhowasgreatlylovedbyallFromthetimeofhisbirthaspeciallightradiatedfromhimandhewasachildofgreatheartHebaskedinthebeautyofthekingdomthathewouldone dayruleandserveHelovedeverypartofitTheonlythingthatcastashadowuponhisdaywaswhenhetookpartinthehunttosupplywildgameforthenightlyfeastHefoundthatthiswasmadelesspainful itwaseasiertostrike adeerorarabbitwithhisarrow ifheremovedhisheartfirstandthenrestoredituponhisreturntothecastleItbecamehisdailypracticetoplacehisheartintoaspecialwoodencasethathecarefullyhidinhisbedchamber Theprince’sactionswerewitnessedbyanevilandjealoussorcererwhohadbeenobservingthekingdomandsearchingforawaytorobitofitswealthandbeautyHedecidedtostealtheheartoftheprince!Soonedaywhenthe princereturnedfromthehunt,hisheartwasnotwherehehadleftitHesoughthighandlowforhisheart,butitwasnowheretobefoundThesorcerer,verypleasedwithhisowningenuity,appearedtotheprinceinadreamasawise seerandprovidedhimwithfalseinstructionstofindhisstolenheartLeavingthekingdomatonce,theprincebeganalonganddesolatejourneytofindhisheart

Butthiswasnottheendofthesorcerer’seviltrickeryAmasterofdisguisesheadoptedtheappearanceoftheyoungprince andnoonerealizedthattheprincehadactuallyleftHoweversincethesorcererwasnotthatinterested intheprincesheart,heworeitonlyrarelyThus,itsoonbecamepossibletoalsostealtheheartsofthekingandqueen,whobegantoyearnfortheirradiantyoungprince,whowasnolongertheshininglightthathehadoncebeen AndsothesorcerercametorulethekingdomHecontinuedtoweartheprince’sheartonlyforcertainoccasionswhenitservedtoprovidehimwiththecharismaandcharmheneededtotolerateandinturnbetoleratedbythosehe ruled,who,afterall,keptthingsgoingHowever,underhisrule,thekingdomlostitsradianceasthesorcererconfiscatedallofthegoldfrompeopleshomestofulfilhisowndesires;themountains,forests,andlakeslosttheirbeauty andwildlife;cropsandorchardslosttheirabundance;andthespiritofhospitality withitsfeasting stories andcelebration allbutdisappearedasmoreandmoreheartswerelost Travelersnolongervisitedthekingdom andmany whohadlivedthereforgenerationsleftinsearchoftheirhearts

Inthemeantime,theyoungprincebecamemoreandmoredesolateandutterlylostwithouthisheartNomatterwherehewent,hefoundonlywasteandemptinessFinally,hecouldnolongercallupthewillortheenergytocarry onReadytogiveuphissearchhestoppedatadrearylookingplacewherethesunnevershone“WhybothergoinganyfurtherwhennothingIhaveencounteredsofarhasbroughtmeanyhappinessorevensolace?”hethought HehadfoundacompletewastelandWhatappearedtohaveoncebeenaprosperouskingdomwasnowlaidbareAshemadehiswaythroughthewindingstreets,hefoundnotasoul,nordidhespotanylivingcreatureoranything greenaseventheheartofthelanditselfhadstoppedbeating Aftersometime hecameuponanoldcastleandentered empty likeeverythingelsehehadseen Makinghiswaythroughthecastle hecameupontheroyalbed chamberand,exhausted,fellintoadeepsleep Uponawakening,andgazingsolemnlyaroundtheroom,abeamofsunlightsuddenlybrokethroughtheheavilycloudedsky Asitshonethroughthewindow,itsrayfelluponalonely woodencasehehadnotyetnoticed Heopeneditwithtremblinghandsandfoundwithinithisownheartthathehadbeenseekingforwhatseemedaneternity Itwasstillbeating,thoughfaintly Withgreatcareandreverence,he placeditinsidehischestandbegantofeel,witheverybeat,moreandmorealiveandrestored thoughthiswasseasonedbytheemotionalweightandwisdomofhisexperience Withhisnewfoundwisdom,heknewexactlywhathemustdoHemadehimselfadrumandbegantobeatonthisdrumslowlyandrhythmicallyfordays,weeks,andpossiblymonths,withoutpauseWitheverybeatofhisheartand everybeatofthedrum theheartofthelandbegantoawaken Atfirst theperpetuallygrayskyeruptedintoagiganticthunderandrainstormthatlasteduntilallofthedried-upcreek river andlakebedswerereplenished Asthe princecontinuedtobeathisdrum,thelandbegantosproutnewgrowthuntil,soon,itwasflourishingwitheveryvarietyoftree,grain,andproduceyoucanthinkof Thiswasquicklyfollowedbyanabundanceanddiversityof animalsButhekeptonbeatinghisdrumandashedidsoitsintensityonlyincreasedandthebeatingofhisownheartstrengthenedevenmore ThebeatingwassopowerfulthatitcouldbeheardfarandwideandthosewhohadleftthekingdomeitherwithbrokenheartsorinsearchofstolenheartsrecognizedthebeatAstheyreturnedonebyone,eachconstructedhisorher owndrumandformedinacirclewiththeprince allbeatinginunisonSoontherewasgreatsinginganddancingandfeasting,andmanyhealingstoriesweretoldaboutthekingdomthatlostitsheartandhowithadbeenrestored onebyoneandaltogetherEachpersonhadhisorherownuniquestorytoshareandeachlistenedwithgreatadmirationandrespectasstoriesweretoldTheprincevowednevertoremovehisheartagain toapproacheachandevery actoflivingwithhisheart,mind,andbodyworkinginharmony,asdideveryoneinthecircleThus,thepowerofthedrum,therestoredheartsofthepeople,andthehealingstoriestoldvanquishedwhateverwasleftofthesorcerer’s legacyofdestructionanddespairThecirclegrewbiggerandbiggerandithasneverstoppedgrowingsincethatday

EXPRESSIVEWRITINGFORPERSONALHEALINGANDSOCIALCHANGEINSOCIALWORKPRACTICE

Inadditiontopoetry,expressivewritingcantakemanyforms,includingjournaling,diaries,ormemoirsJamesPennebakerhasbeenaprominentadvocateofexpressivewritingasatoolforhealing,whetherinacounselingsettingor asaself-helppractice andhaswrittenextensivelyaboutthecatharticbenefitsofwritinginrelationtoemotional mental andphysicalhealth includingrecoveryfromtrauma(eg Pennebaker 1989 2000 2010;Pennebaker& Chung,2011;Pennebaker&Smyth,2016) DeSalvo(2000)alsospeakstotheabilityofthecreativewritingprocesstoreleaseemotionsthathaveposedabarriertomentalhealthandtosupportincreasedunderstanding,personal growthandtheabilitytoadoptnewperspectives

Inhispracticalguidetoexpressivewritingfortherapistsandcounselors,Pennebaker(2010)provideskeyelementsoftheexpressivewritingprocess

Forexample,clientsmaybeaskedtowriteforaminimumof15minutesonat leastthreeoccasionstoseeifwritingisafitforthem Theyareaskedtowriteaboutwhatistroublingthemversuswhatthecounselormayfeelistroublingthem,andtheyareencouragedtowritecontinuouslywithoutconcerning themselveswitheditingPennebakeradvisesthattheactualwrittenmaterialisbestnotsharedwiththetherapistorthegroupbecauseanypressuretodosomayincreaseclientstressandbecounterproductiveRatherhesuggeststhat iftheclientisreadytoshare,heorsheshouldbeencouragedtodosoorallybecausethisprovidestheopportunitytorevisethenarrativeinordertoremainwithinsafeemotionalparameters Forthecounselorwhomaywishtouse

Expressive arts for social work and social change 1st edition tuula heinonen - Download the ebook to

CONTENTS

PREFACE

ACKNOWLEDGMENTS

ABOUTTHEAUTHORS

ABOUTTHECONTRIBUTORS