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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

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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

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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

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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

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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

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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

writingasatherapeutictoolwithclientswhohaveexperiencedtraumaitiscriticaltobeadequatelyeducatedintheuseofthismethodasitsunskilfulusemaybedetrimentaltothewell-beingoftheclient(Pennebaker2010) TillyandCaye(2005)describetheuseofwritingandpoetrywithasmallgroupoflow-incomewomenparentingsexuallyabusedchildren aneducationalgroupprocessledbyachildtherapistandaparentingsocialworkerwho invitedalocalwritertoprovidewritingclasses BasedontheworkofPennebaker(1990)andDeSalvo(1999),womenwereencouragedtowriteabouttraumaandtoconnectwiththeirfeelingsastheywrote TillyandCaye(2005) offerintheirappendixalistofreceptive/prescriptivewritingsthatresonatedwiththewomen’sstateofmindandneedforacceptanceandunderstanding,andalistofwritingprompts,suchas“Whenwespeakoffriends,aswedo tonight,whatstoriescometoyourmindaboutfriends?Goodfriendshipsarebasedontrust Haveyoulostorfoundafriendthroughdistrustortrust?Tellusaboutthem”(p 141) Socialworkersobservedthataddingwritingtothe groupprocessenabledwomentomoredeeplyaccesstheirfeelingsreduceanxiousfeelingsandhavegreaterclarityofthoughtThisinsomecasesledtomoreconstructiveproblem-solvingandparentingskills ThecapacityofthewritingprocesstopromotecatharsisisalsodemonstratedintheworkofSchnekenburger(2006),aclinicalsocialworkerwholedaweeklywritinggroupwithchronicallymentallyilladultsinaresidentialmental healthsettingfor7months Schnekenburgerdescribestheresidentsashavinghad“impenetrableshields”atthestartofthisgroupprocess(p 151) Whenaskedtostatetheirnamesandaself-descriptiveadjective onewomansaid TheEnd, explainingthatmedicationsrenderedherincapableofdoingthingsanymoreandthatherlifewasover(p 153) Despitetremendousinitialresistancetopersonaldisclosure,thegroupwaseventuallyabletocreate collaborativepoemswhenSchnekenburgerbegantousemusic,photographs,flowers,rocks,seashells,andcolorstostimulatetheirimaginationandsenses,which,inturn,evokeddeeperfeelingsandexpressionAlthoughoneresident spokelittleEnglishwasdeemedilliteratebyotherstaffandthusanunlikelycandidateforthewritinggroupandsatinsilenceintheresidencemuchofthetimeshewasattractedtotheenergyofthewriters’groupandbegantomake spokencontributionstocollaborativepoems,whichSchnekenburgertranslatedWhengroupmemberswereinvitedtopaintapictureofthegroupwithwords,thiswomanenthusiasticallycontributedthefirstline:“Wakingtheheart up”(p168)Thecollaborativewritingprocesspromotedgrowingconfidenceself-expressionandmeaningfulrelationshipsbetweengroupmembersFurthermoredespiteapervasivebeliefwithinthementalhealthsystemthatthese facilityresidentswerethelowestfunctioning,andthusunabletoparticipateincommunityprograms,thewriters groupeagerlysubmittedpoetryto,andattended,acommunitymentalhealthforumwhereitreceivedhonorable mentionThispublicrecognitiondidmuchtoaltertheirconfidenceandsenseofselfasindividualsandagroup

CohenandMullender(1999)describeapoetrygroupinaservicecenterforhomelessandlow-incomeadultsthatfocusednotonlyonpersonalself-expressionwithinthegroupbutalsoonorganizingreadingsforthepublicinorder tocounternegativestereotypesabouthomelessnessand,thus,promotesocialchange

STORYANDWRITINGASATOOLFORCRITICALREFLECTIONINSOCIALWORKPRACTICEANDEDUCATION

Expressivewritingisameansbywhichsocialworkerscanprocesspracticeexperiencesandengageinreflectionandcriticalanalysistosupportpersonalandprofessionaldevelopment Aself-reflexiveprocessasstudentsand practitionersreinforcesself-awareness,forexample,ofunconsciousbiasesandassumptionswemayhaveinrelationtotheclientsweserve Moreover,theuseofpoetryandotherformsofnarrativeexpressionbyourclientsmay uncoverhiddenstoriesinoralorwrittenformthatmayotherwisenothavebeenexpressedExpressivenarrativetoolshavethecapacitytosensitizeustotheexperiencesandmeaning-makingofthoseweserveheightenawarenessof ethicaldilemmasinpracticesettings,andincreaseunderstandingandempathy(eg,Furman,2005;Mazza,1998)

InherroleassocialworkpracticeinstructorGold(2012)assignedthereadingofmemoirsornarrativeswrittenbyservicerecipientswhohadpersonallystruggledwithphysicalandmentalhealthproblemsasacomplementtothe professionaldiscoursefoundinsocialworkjournalsandtextbooks Additionally,inaseriesofhospital-basedseminarsforsocialworkpracticumstudents,personalnarratives,shortstories,andpoetrywrittenbybothclientsand practitionerswereusedtoencouragereflectionanddialogueTheseminarwasstructuredsothatstudentsreadthetextaloudandexploredarangeofmeaningsandimplicationsforpractice

Anotherundergraduatesocialworkprogramofferedahumanbehaviorcourseinwhich63studentswerepairedwitholderadultsinanintergenerationaloralhistoryprojectdesignedtocontextualizehumanbehaviorinthesocial environment(HBSE)theoriesandconcepts(Ames&Diepstra,2006)AsMartin(1995)suggests:“[T]hevalueoforalhistorygoesbeyondgatheringfactsItallowsindividualsandfamiliestoascribemeaningstothoseevents,”thus providingsocialworkerswithabettergraspofthepersonalneedsandsocialissuesoftenfacedbyoppressedindividualsand/orgroups(p8)Sheaddsthatoralhistoryisparticularlyusefulintheintegrationofhumanisticvaluesand citesBennett(1983),whonotesthatthelanguageoforalhistory,whichincludesthemeaningsindividualsascribetotheirexperiences,cancrosssocialbarriers Martinlikensthesocialworkertoa midwife, who,intheprocessof engagingclientsinanoralhistoryprocess mayactasa“bridgebetweentheproblemssocialworkersandtheirclientsseektoconfrontandtheclients’ownsolutions”(p 9) Shealsosuggeststhatoralhistoriesconductedwith individualswhosefunctioningisnonproblematiccanbebeneficialbecausetheyprovidevaluableknowledgeforpracticewiththosewhodorequireassistanceandsupports

Theuseofcreativewritingbysocialworkerstoprocessdifficultexperiencesisdemonstratedinaself-publishedbookbyDavidBaxter(2011)calledEmerging Basedonhisexperienceasanon-callmentalhealthsocialworker dealingwithcriticalincidentsinahospitalemergencywardBaxtersharespoetrywritteninhisretirement poetrythatreflectshisprocessofhealingfromthecriseshehaswitnessed andofferscriticalreflectionandpoeticanalysis ofprofessionalandethicalissuesonefacesinthefield In OneMoreTime (pp 28–29),Baxterdescribes Doug, amanwithaddictionsissueswhofrequentlypresentsintheemergencyward,as beingonthefrequentflyer program”Dougislikenedto“agiantfirtree”facing“animpendingfall”because“[h]isusualmealofboozeanddrugs[is]beginningtoworkagainsthisweakenedheart”Thelifeanddeathofatreeisastrongmetaphorinthispoem Dougsthickfileisdescribedashaving costthelivesofseveraltrees BaxtermakesitclearinthepoemthatDougisnotacooperativepatientRatherthangraciouslyacceptingthedoctorscare,heis [g]oinfurasmoke [sic], whichbringstomindatreeatriskofburningdownWhenDoug’sphysicalstrengthfinallyfaltersandthedoctorisabletoattendtohismedicalneedswithoutDoug’sresistancehisheartstopsandmedicaltechnologyisspeedilyput intohighgeartorestorelife Baxtersassessmentisthat theprevailingsentiment ofotherstaffpresentistosilentlyqueryifmedicalinterventionatthispointmaybe invasive Woulditbemorehumaneto [l]etthepoorguy go[?]”After6hoursDougisreleasedfromhospitaland“neverseenagain”Baxterappearstoalludetoastarkcontrastbetweenthemandatedmedicalandthemandatedsocialcareofpeople:“Docs,blesstheirsouls,arethereto preservelife”Ontheotherhandsocialandmentalhealthsupportsandservicesalsocriticalforpreservationandqualityoflifearehighlyunderresourcedinoursocietyresultinginthelackofadequatehumaneandpracticalsupports andthemarginalizationofthoserequiringtheseservices

NARRATIVETHERAPY:THEARTOFREAUTHORINGONE’SSTORY

Narrativetherapy undertheleadershipofMichaelWhiteandDavidEpston(1990) isrootedinsocialconstructionism Itfocusesonthedesconstructionofoppressivestoriesandconstructionofliberatingandlegitimizingonesthat havethepowertochangeandtransformoneslivedreality(Brown&Augusta-Scott,2007)Narrativemetaphorliesatthecenterofthisprocessandhighlightsthepremisethatallpeoplelivestoriedlivesandstrivetoderivemeaning andsenseoutoftheirlivedexperience(White&Epston1990)AtthefoundationofthispremiseisthenotionthattheanalogiesormetaphorsweusedetermineourexaminationoftheworldandtherealitiesweconstructInfluenced byFoucaultscritiqueofpoliticallylegitimizedinstitutionsanddominantsocietaldiscoursesthatoftenjudge,categorize,andpathologizeindividualsonthebasisof expertknowledge (Foucault,1980;Nichols&Schwartz,2007,p 267),WhiteandEpston(1990)recognizedthatdominantconstructs,discourses,andillnessmetaphorshavethepotentialtorestrictthepossibilityofpositiveoutcomesforindividualswhoareproblematized Narrativetherapythusfocusesonexternalizingtheproblemsothattheindividualnolongerself-identifiesastheproblemseekingpositivestorylinesintheindividual’slifehistorythatarenotinkeepingwiththeproblem-saturated story,andstrengtheningthesepositivestorylinestocreateanewnarrative toreauthorthestoryAsthisnewnarrativeisthickened,individualsoutsidethetherapeuticrelationshipmayberecruitedtobearwitnesstotheconversation betweenclientandtherapistand thus validatetheindividualandstrengthenthealternatestory(Abels&Abels 2001;White&Epston 1990) “Aspeoplebegintoinhabitandliveoutthealternativestories theresultsarebeyond solvingproblemsWithinthenewstories,peopleliveoutnewself-images,newpossibilitiesforrelationshipsandnewfutures (Freedman&Combs,1996,p16)

Narrativeapproacheshavebeenusedwidelywithindividuals families groups andcommunitiesexperiencingawiderangeofissuesfrompersonaltopolitical InherroleasfacilitatorofanAIDSsupportgroup Dean(1998) demonstrateshownarrativeapproaches,asestablishedbyWhiteandEpston(1990),canbeusedinagroupworkcontextto createmeaning,organizethepast,explainthepresentandconsideralternativesforthefuture (Dean,1998, p23)Narrativetherapyprinciplesandstrategiesareintegratedwithgroupworkprocesstococreatenewstoriesandmeaningswithinthegroupcontext Narrativetherapycanfindacompatiblefitwithotherexpressiveartforms Forexample Caldwell(2005)advancestheintegrationofnarrativetherapyprinciplesandstrategieswithactivitiessuchasjournaling videography and themakingofmemorybooks,selfboxes,lifemaps,andtimecapsulestofacilitatethelifereviewprocessWorkingwithboththeolderadultandfamilymembers,thecounselorengagesthefamilyinacollaborativeprocessofcreative meaning-makingwhichassistsinthedeconstructionofproblemstoriesandthecoconstructionofstoriesofresilience Thecoproductionofthesematerialrepresentationsanchorsalifestorywithtangibleobjects images text and voice,anditcanprovideavaluablesourceofcomfortandmemorytoanolderadult,whomaybecognitivelyimpaired,andtothefamilyasawholeThiscanalsobeawonderfulwayofstrengtheningintergenerationalfamilybonds GilbertandBeidler(2001)describenarrativetherapyapproachesingroupsforchemicallydependentmotherswhoareresidentsatanaddictionstreatmentcenter Identificationwithaproblem-saturatedlifeofaddictionhad obscuredadeepersenseofselfandpersonalagencytocreatelifechangeArrivingatthepointwhereawomancouldtellherstoryandfeelheard,validated,andacknowledgedwasanempoweringexperience,andeachtellinginvoked resonancewithinothergroupmembers,whothenreflectedtheirthoughtsbacktotheteller Dailygroupexperiencesprovidedtheopportunitytoanchornewself-perceptionsandstories,andtorebuildanewidentityasawoman withoutadependency Women’sstorieswerealsoelicitedwiththeaidofpuppetsthatservedtorepresentawoman’slife externalizetheaddiction andcreatenumerousstoryversionsabouttherelationshipbetweenthewomanand theaddictionGroupmembersparticipatedinthesestories,asappropriate,toexpandonpossiblemeaningsandoutcomes

NarrativeapproachesalsohavethecapacitytosupporthealingandtransformationinthecontextoflargercollectiveissuesasinCanada’sTruthandReconciliationinitiativetowitnesstheIndigenousvoicesofCanadianresidential schoolsurvivors(eg,Younging,Dewar,&DeGagne,2009);theworkoftheNationalSurvivors AssociationinRwandawithTutsisurvivorsofgenocidetostrengthentheirresistancetotheeffectsoftrauma,reclaimtheirlivesand future,andrebuildcommunity(Denborough,Freedman,&White,2008);andtheuseoftransformativemetaphorstoelicitstoriesofresiliencewithAfricanchildrenorphanedbytheinvasionofAIDS(Ncube,2006)

DIGITALSTORYTELLING

Withtheriseofcomputertechnology,wehavealsoseentheemergenceofdigitalstorytelling(DST),whichinvolvestheintegrationoftextwithsound,video,andstillimagestocreateshortbutpoignantvisualrepresentationsof personalnarratives(Couldry,2008)JoeLambert(2013),cofounderoftheCenterforDigitalStorytelling(CDS)inBerkeley,California,speaksofthehistoryandvisionbehinddigitalstorytellingandprovidesadetailedapproachand methodologyfortheproductionofdynamicvisualnarratives Since1998 CDS’smissionhasbeento“promotethevalueofstoryasameansforcompassionatecommunityaction”andithasoffered“storytellingforprofessional development,asareflectivepractice,asapedagogicalstrategy,orasavehicleforeducation,communitymobilization,oradvocacy onaninternationalscale(CenterforDigitalStorytelling,http://storycenterorg/)DSTisapowerful toolforsocialchangebecauseitprovidesameansforordinaryindividualstoshareotherwisemarginalizedstoriesinthepublicdomain(suchassocialmediaorothercommunitycontexts) wheretheybecomeaccessibletoawider audience,thusbalancingtheplayingfieldinasocialclimatewheresuchstorieswouldordinarilynotfindeitheravenueoranaudienceForexamplesofcasestudieswithmarginalizedpopulationsinvariouspartsoftheworld,where DSTisusedasameansofeducatinganinternationalaudienceseehttps://wwwstorycenterorg/ss-case-studies

Lenette,Cox,andBrough(2015)promoteDSTasausefultoolinsocialworkpractice Intheirresearchwithwomenfromrefugeebackgrounds,DSTprovidedanopportunityforwomentoproducepowerfulandevocative counternarrativestothedominantdiscourseontherefugeeexperience TheauthorsconcludethatDSTcanbecomeatoolforsocialadvocacytoinfluencepolicyandpracticeatabroaderpoliticallevelandalsoexploreethical considerations

DSThasbecomeapowerfultoolinsomesocialworkpracticecontextsbecauseofthiscapacitytosupportsocialworksstrongsocialjusticefocusTheNationalResourceCenterforPermanencyandFamilyConnectionsatHunter College’sSchoolofSocialWorkinNewYorkCity inconjunctionwithotherstakeholders usesDSTasatherapeutic educational andadvocacytooltopromoteimprovementinthedeliveryofchildwelfareservices Thishas includedtheuseofdigitalstoriestoeducatelegislators,judges,judicialdistrictstaff,andotherstakeholdersaboutissuesandchallengesexperiencedduringlegalrepresentationinchildprotectioncases(seetheNationalResource CenterforPermanencyandFamilyConnections[NRCPFC]websiteathttp://wwwnrcpfcorg/digitalstories/;alsoseehttp://wwwnrcpfcorg/digitalstories/aboutushtmandhttp://wwwhuntercunyedu/socwork/nrcfcpp/pass/digitalstories/indexhtm)

NARRATIVE,STORY,POETRYASSOCIALWORKRESEARCHMETHOD

Arts-basednarrativeexpressionintheformofstoryandpoetryisfindingmoreofaplaceinqualitativeresearchmethodology AccordingtoLeavy(2009,p 255), theartshavethecapabilitytoevokeemotions,promotereflection, andtransformthewaythatpeoplethinkinamorepowerfulwaythantraditionalqualitativeresearchalone”Inrelyingonmetaphor symbolism andimagination saysLeavy arts-basedresearchprovidesrepresentationsof marginalizedstoriesthatcarryauthenticityandarecompellingandconsciousnessraising Thiselicitsunderstandingandempathynotonlyfortheindividualasanisolatedentitybutfortheindividualwithinasocialandpolitical context,whichmayrevealethicalissues,socialinjustices,andthenecessityforindividualinterventionandsocialchange Thereisgrowingrecognitionoftherelevanceofcreativenarrativemethodinsocialworkresearch(Phillips MacGiollari &Callaghan 2012;Riessman&Quinney 2005) AccordingtoRiessmanandQuinney(2005) narrative researchexploreshowandwhyindividualsstorytheirlivedexperienceandtheroleofmeaning-makinginthisprocess,notmerelynarrativecontent Withinthecontextofsocialwork,itofteninvolvesanalysisofself-narrativesof individualswhomaybeincareorotherwisemarginalizedThereisalsoincreasingevidenceoftheresearcherbringinghisorherselfandcreativereflectionintotheresearchThisoffersauthenticitythatismorelikelytoengageand persuadesocialworkstudents,faculty,andpracticingsocialworkers;professionalsfromotherdisciplines;orpolicymakersabouttheissuesbeingexplored Tay-LimandLim(2013)highlightthevalueofelicitingchildren’svoicesinsocialresearchandregardingchildrenas“expertinformantsabouttheirownlives”(p11)Inasocialworkpilotprojectexploringacreativeapproachto hearingthestoriesofyoungchildren,D’CruzandStagnitti(2010)askedasmallgroupof6-to8-year-oldchildrenfromstablemiddle-classfamiliestoshare,throughtextanddrawings,“whatitmeantforthemwhenparentsloveand carefortheirchildren,andwhentheydonot”(p 216) Theyconcludethattheirstudycontributesavaluableapproachtoseekingtheperspectivesofchildrenaboutdecisionsrelatingtotheirwelfareandcanimprovesocialwork practicewithchildren

Inexploringexperiencesofpoorworking-classmothersandtheeffectivenessofexistinglocalprograms,Foster(2012)usespoetryasasocialresearchmethod Somepoemsproducedbywomenwhowerepartoftheresearch processarediscussedandofferinsightsthatprovideacounternarrativewhichchallengesdominantideologiesaboutoppressedpeople

Inpoeticinquirymethods,foundpoetryisdescribedasameansofworkingwithdatainwhichwordsfromqualitativeresearchinterviewsareselectedandarrangedintopoems(Butler-Kisber,2010)Butler-Kisber(2010)identifies LaurelRichardson,awell-knownqualitativeresearcher,asapioneerintheuseofpoetryinresearchwhoviewspoeticrepresentationofresearchdataasawayofmakingresearchaccessibletoawideraudienceAresearcher-poetcan drawfrominterviewtranscriptsandinvolvestudyparticipantsincreatingpoetrytorepresentimportantthemesinstudyfindings Sjollema,Hordyk,Walsh,Hanley,andIves(2012)usefoundpoetrytoexamineandmorepowerfully representthevoicesofimmigrantwomenexperiencinghousingissuesandhomelessnessinMontreal,CanadaTheauthorsidentifiedsignificantthemesthatemergedfrominterviewswithwomenandthenselectedpoignantwordsand

phrasesinkeepingwiththesethemesrearrangingthemintoapoeticformwithoutalteringtheactualwordsandattemptingtoremaintruetotheinterviewee’suniqueaffectandexpression Usinganautoethnographicmethodologywheretheresearcherisalsobeingresearchedinrelationtoalargersocialphenomenon,Gallardo,Furman,andKulkarni(2009)explore,throughself-reflection,theexperienceofdepression byusingpoetryandnarrativeFormyMSWthesis,Iusedautoethnographytoexplore,fromthevantagepointofaninsider(memberofthecommunityunderinvestigation)andanoutsider(socialworkerandresearcher),thelifespan andintergenerationalexperiences,stories,andmeaning-makingofMennonitewomen whoduringWorldWarIIhadfledpoliticaloppressioninSovietRussia andadultchildrenofthisgenerationofwomenbornpostmigrationin Canada(Krahn,2013) Integratingthevoicesofeachgenerationtoproducetworepresentationalcollectivestoriesprovidedinsightsintotheemotionaland/ormentalhealthneedsofagingrefugeesandtheiradultchildren,who vicariouslyexperiencedeffectsoftheirparents’traumatichistory Inadditiontopoliticaloppressionandwaritself traumawasalsorelatedtolossofhomelandandsubsequentlifelongseparationfromfamilyandcloselyknit communitymemberswhohadeitherperishedorhadbeensubjectedtointernaldisplacementtonorthernregionsoftheSovietUnion Inthecaseofadultchildren,whohadoftenlivedintheshadowoftheirparents moredominant storyofsurvival readingtheirowncollectivestoryhelpedthemtodepersonalizeorexternalizelifeissuesthatwereclearlyrelatedtovicarioustraumamutuallyexperiencedbytheirgenerationalcohort Inthecaseofmother–child dyadswherereadingeachotherscollectivestorywaspossible,thiscontributedtodeeperintergenerationalunderstandingand/orcatharsis BasedonherexperienceasasocialworkerinanemergencyandtraumadepartmentofaCanadianacutecarehospital,Phillips(2007)usescreativewritingtoprovideasubjectiveaccountofpatientpainanditstreatmentDistressed bythemedicalizationofpainanddeathandthepowerrelationsinhospitalsettingsthatconfinesocialworkpracticewithinmedicalparametersshepresentsanalternatediscourseontheculturalexperienceofpaintocounterthatof themedicalchartShearguesthat“[a]rts-basedmethodsallowusanotherway‘intoourwork,’intoconversationsofpowerandthedialogicrelationsofsocialworkpractice”Sheadds,“Itiswithsuchdetailedimaginationthatsocial workerscanconsiderhowtoplacethemselvesinrelationtoactsofpower”(p200)Phillipsbelievesthisisacriticaldiscussionforsocialworkerswhowishtopursuesocialjusticeinsocial-clinicalcare Therehasbeenanincreaseinarts-basedresearchmethodswithIndigenouspeoplesthatincorporateamorecollaborativeresearchprocess,includingjointownershipandtraditionalIndigenouswaysofknowingandcommunicating throughstory whichmorepoignantlyreflecttheirneedsandvalues(eg Clarketal 2009;Hart 2010;Kendall Marshall &Barlow 2013;Transken 2005) Kendalletal (2013)reflectontheWesternpreferenceforthewritten wordversusotherformsofcommunication,andtheyquoteIttelson(2007):

Theconstantobeisancethatacademicspayatthealtaroflanguagemayrepresentanoccupationalblindness Writtenlanguage,inallofitsmanyforms restsfirmlyonthefoundationofthevisualarts,andthevisualarts,historicallyand contemporaneouslyplayanequallylargeandimportantroleincommunicatingrecordingandanalyzinginformation(p281)

VisualartstorytellingandothertraditionalIndigenouspracticeswerestrongcomponentsoftheirresearchprocesswhichexploredgapsinhealthcareservicestoIndigenouspeoplesinAustralia Likewise,Clarketal (2009)usedacollaborativeapproachthatinvolvedaparticipatoryactionresearchpartnershipofElders,anurbanAboriginalcommunityhealthandsocialservicesagency,Aboriginaluniversityfaculty,nonAboriginalfaculty,andresearchparticipantstodevelopculturallysafebestpracticesinsocialworkandhumanservicefieldeducationinAboriginalcommunityhealthsettingsinBritishColumbia,CanadaDuringthisprocess,issues ofpower trust andrelationshiprelatedtocolonizationanditsconsequenceswereaddressed Thisinvolvedmutualstorytelling bridging andcolearning andacknowledgedthevalueoftalkingcircles storytelling andmusicas traditionalwaysthatlendthemselvestoresearch

CONCLUDINGTHOUGHTS

Therehasbeenanevolutionintheartofusingstorytoengagewithgrowingindividualandsocialissues Storytellinginitsmanyforms poetry,expressivewriting,andothercreativenarrativeexpression canbesuccessfully integratedintostrengths-basedsocialworkpracticewithindividuals groups and/orcommunitiestopromoteindividualgrowthandsocialchange andanessentialcomponentofthisworkistheidentificationofmorelife-givingand transformativemetaphorsthathelpclientstoreframeandrestorytheirlives Socialworkers’reflexivityinrelationtoclients’personalstoriesandmeaning-makingabouttheirlivedexperiencesisalsogainingprominenceinsocial workeducationandresearch Notonlydonarrativeapproacheshavethecapacitytosupportemotionalrelease catharsis andempowermentinrecipientsofservice buttheyalsohavethecapacitytodeepenthesenseofconnection betweenclientandprofessional Ininstanceswheretheseotherwisemarginalizedvoicesarealsobroughttoawideraudience,professional,political,andpublicawarenessandgraspofcriticalindividualandsocialissuescan potentiallybeheightenedinordertostrengthencounternarrativesthatcontextualizeandrespectratherthanindividualize pathologize andstigmatizetheneedsofindividualsand hopefully promotemoresupportive just and transformativesocialinstitutionsandservices

QUESTIONSFORREFLECTIONANDSUGGESTEDACTIVITIES

1 Reflectonthepurpose,value,anduseofmetaphorinallthenarrativeformsdescribedinthischapter(eg,strengths-based,transformational,restorying,andreauthoringmetaphorsversusdeficitorillnessmetaphors)andhowyoumightapplythisinyour chosenareaofpractice

2 SelectanactualorfictitiousclientscenarioandseekametaphorthatlieswithintheproblemnarrativeHowcantheclientbepersuadedtotransformthatmetaphorintosomethingmorehopefulandtransformative?Findashortstoryorpoem orwriteone thatresonateswiththeemotionalimpactoftheclientsstoryandincludesatransformativeelement

3 Selectaparticularaspectofyourlifethatistroublingyouanddevoteaminimumof15minutesonatleastthreeseparateoccasionsduringa1-or2-weekspanoftimetoengageinexpressivewritingWithoutplanningwhatyouwishtowriteandassoon asyourpentouchesthepaperoryourfingershitthekeys,continuewritingnonstopandrefrainfromthinking,evaluationediting,orrevisionReflectonyourexperienceandanyinsightsgained RESOURCES

DigitalStorytelling

Forinformationabouttheorigins,value,andpurposeofdigitalstorytelling;trainingandworkshops;and/ordigitalstoriesseethefollowingwebsites:

CANADA

CommunityWorksWinnipegandToronto:http://wwwcommunity-worksca/digital-stories NorthYorkCommunityHouse:https://wwwnychca/digital-stories TorontoCentreforCommunityLearningandDevelopment DigitalStorytellingToronto:http://wwwtccldorg/programs/digital-storytelling/ YouthbyYouth:DigitalStorytellingProject:http://ucalgarycarescom/category/reading-week-2014/digital-stories/

UNITEDSTATES

CenterforDigitalStorytellingBerkeley:http://storycenterorg/ SmallMoments,BigStories:ForensicNursesMakeDigitalStories madeincollaborationwithTheCenterforDigitalStorytellingandInternationalAssociationofForensicNurses(wwwiafnorg)©2010SeedworksFilms (wwwseedworksfilmsorg)

Anexcellentshortdocumentaryillustratingareflectivegroupprocesstosupporttheproductionofindividualdigitalstoriesaboutonesexperienceinthisverychallengingfield Importantthemesrelevantandapplicabletosocial workers:https://wwwstorycenterorg/nurstory/ SilenceSpeaks:https://wwwstorycenterorg/ss-case-studieshttps://wwwstorycenterorg/case-studies/christensen Empower:DigitalStorytellingandYouth:http://wwwempoweryouthinfo/our-projects/our-stories/

ExpressiveWriting

CenterforJournalTherapy:wwwjournaltherapycom JamesPennebaker,WritingandHealth:SomePracticalAdvice Alsoincludessomereferencesforwriting,journaling,ordiaries:https://liberalartsutexasedu/psychology/faculty/pennebak#writing-health Pennebaker,JWTheExpressiveWritingMethod:https://wwwyoutubecom/watch?v=XsHIV9PxAV4

NarrativeTherapy

Thefollowingwebsitesprovideinformationonnarrativetherapywithindividuals families andcommunities;educationalprogramsandworkshops;journals articles andresources;projects;andonlinestoriesortherapeutic conversationsdemonstratingnarrativetherapyinaction: DulwichCentre(Australia):http://wwwdulwichcentrecomau/ NarrativeApproaches(DavidEpstonNewZealand):http://wwwnarrativeapproachescom NarrativeTherapyCentreofToronto:http://wwwnarrativetherapycentrecom/indexhtml

Poetry

Journal of Poetry Therapy: The Interdisciplinary Journal of Practice Theory Research and Education: http://wwwtandfcouk/journals/titles/08893675asp and http://wwwtandfonlinecom/action/journalInformation? show aimsScope&journalCode tjpt20 NationalAssociationforPoetryTherapy(WashingtonDC) PromotingGrowthandHealingThroughLanguageSymbolandStory:http://poetrytherapyorg/andhttp://poetrytherapyorg/indexphp/journal-of-poetry-therapy/ YouthUpRising:Poetry&PrisonProject: SpokenwordbyDreofHi-Decibels:called ThroughtheRain http://wwwyoutubecom/watch?v eD1B49WK4bQ&feature relmfu

Storytelling

Seethefollowingwebsitesforstorytellingworkshops,information,and/orresources,includingstories,storytellers,journalsornewsletters,andjournalarticlesonthebenefitsofstorytelling CANADA ArtsHealthNetworkCanada(AHNC):http://artshealthnetworkca/ InternationalStorytellingFestival,anannualeventorganizedbytheUniversityofManitoba’sArthurVMauroCentreforPeaceandJustice:https://umanitobaca/colleges/stpauls/maurocentre/events/1083html ManitobaStorytellers Guild:http://manitobastorytellingorg/ StorytellersofCanada/ConteursDuCanada:http://wwwstorytellers-conteursca/

UNITEDSTATES TheHealingStoryAlliance:http://healingstoryorg/

LauraSimms:http://wwwlaurasimmscom/ NationalStorytellingNetwork:http://wwwstorynetorg/ http://wwwstorynet-advocacyorg/news/edushtml

REFERENCES

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or there, or that when a man dies he is born again in another body, either in heaven or in another world, or somewhere. These are all hallucinations. Nobody is ever born or dies, really speaking. There is neither heaven nor hell, nor this world; all three never really existed. Tell a child a lot of ghost stories, and let him go out into the street in the evening. There is a little stump of a tree. What does the child see? A ghost, with hands stretched out, ready to grab him. Suppose a man comes from the corner of the street, wanting to meet his sweetheart; he sees that stump of the tree as the girl. A police-man coming from the street corner sees the stump as a thief. The thief sees it as a police-man. It is the same stump of a tree that was seen in various ways. The stump is the reality, and the visions of the stump are the projections of the various minds. There is one Being, this Self; It neither comes nor goes. When a man is ignorant, he wants to go to heaven or some place, and all his life he has been thinking and thinking of this, and when this earth dream vanishes he sees this world as a heaven, with devas and angels flying about, and all such things. If a man all his life desires to meet his forefathers he gets them all, from Adam downwards, because he creates them. If a man is still more ignorant and has always been frightened by fanatics with ideas of hell, when he dies he will see this very world as hell, with all sorts of punishments. All that is meant by dying or being born is simply changes in the plane of vision. Neither do you move, nor does that move upon which you project your vision. You are the permanent, the unchangeable. How can you go and come? It is impossible; you are omnipresent. The sky never moves, but the clouds move over the surface of the sky, and we may think that the sky itself moves. Just as you go into a railway train, and you think the land is moving. It is not so, but it is the train which is moving. You are where you are; this dream, these various clouds move. One dream follows another without connection. There is no such thing as law or connection in this world, but we are thinking that there is a great deal of connection. All of you have probably read “Alice in Wonderland.” It is the most wonderful book for children written in this century. When I read it I was delighted, it was always in my head to write that sort of a book for children. What pleased me most in it was what you think most incongruous, that there is no connection there.

One idea comes and jumps into another, without any connection. When you were children you thought that the most wonderful connection. So this man brought back his thoughts of childhood, perfectly connected to him as a child, and composed this book for children. And all these books which men write, trying to make children swallow their own ideas as men are nonsense. We too are grown up children, that is all. The world is the same unconnected thing,—“Alice in Wonderland,”—with no connection whatever. When we see things happen a number of times in a certain sequence, we call it cause and effect, and say that the thing will happen again. When this dream changes another dream will seem quite as connected as this. When we dream, the things we see all seem to be connected; during the dream we never think they are incongruous; it is only when we wake that we see the want of connection. When we wake from this dream of the world and compare it with the Reality, it will be found all incongruous nonsense, a mass of incongruity passing before us, we do not know whence or whither, but we know it will end; and this is called Mâyâ, and is like masses of fleeting, fleecy clouds. They represent all this changing existence, and the sun itself, the unchanging, is you. When you look at that unchanging Existence from the outside, you call it God, and when you look at it from the inside you call it yourself. It is but one. There is no God separate from you, no God higher than you, the real “you.” All the gods are little beings to you, all the ideas of God and Father in heaven are but your reflection. God Himself is your image. “God created man after His own image.” That is wrong. Man creates God after his own image. That is right. Throughout the universe we are creating gods after our own image. We create the god, and fall down at his feet and worship; and when this dream comes, we love it!

This is a good point to understand,—that the sum and substance of this morning’s lecture is that there is but One Existence, and that One Existence seen through different constitutions appears either as the earth, or heaven, or hell, or God, or ghosts, or men or demons, or world, or all these things. But among these many “He who sees that One in this ocean of death, he who sees that One Life in this floating universe, who realizes that One who never changes, unto him belongs eternal peace; unto none else, unto none else.” This

One Existence has to be realized. How, is the next question. How is it to be realized? How is this dream to be broken, how shall we wake up from this dream that we are little men and women, and all such things? We are the Infinite Being of the universe, and have become materialized into these little beings, men and women, depending upon the sweet word of one man, or the angry word of another man and so forth. What a terrible dependence, what a terrible slavery! I who am beyond all pleasure and pain, whose reflection is the whole universe, little bits of whose life are the suns and moons and stars,— I am held down as a terrible slave. If you pinch my body I feel pain. If one says a kind word I begin to rejoice. See my condition,—slave of the body, slave of the mind, slave of the world, slave of a good word, slave of a bad word, slave of passion, slave of happiness, slave of life, slave of death, slave of everything. This slavery has to be broken. How? “This Âtman has first to be heard, then reasoned upon and then meditated upon.” This is the method of the Advaita Jnâni. The truth has to be heard, then reflected upon and then to be constantly asserted. Think always—“I am Brahman”; every other thought must be cast aside as weakening. Cast aside every thought that says that you are men or women. Let body go, and mind go, and gods go, and ghosts go. Let everything go but that One Existence. “Where one hears another, where one sees another, that is but small; where one does not hear another, where one does not see another, that is infinite.” That is the highest, when the subject and the object become one. When I am the listener and I am the speaker, when I am the teacher and I am the taught, when I am the creator and I am the created,—then alone fear ceases; there is not another to make us afraid. There is nothing but myself, what can frighten me? This is to be heard day after day. Get rid of all other thoughts. Everything else must be thrown aside, and this is to be repeated continually, poured through the ears until it reaches the heart, until every nerve and muscle, every drop of blood tingles with the idea that I am He, I am He. Even at the gate of death say “I am He.” There was a man in India, a Sannyâsin, who used to repeat “Shivoham” (“I am Bliss Eternal”), and a tiger jumped on him one day and dragged him away and killed him, and as long as he was living the sound came “Shivoham, Shivoham.” Even at the gate of death,

in the greatest danger, in the thick of the battle-field, at the bottom of the ocean, on the tops of the highest mountains, in the thickest of the forest, tell yourself “I am He, I am He.” Day and night say “I am He.” It is the greatest strength; it is religion. “The weak will never reach the Âtman.” Never say: “O Lord, I am a miserable sinner.” Who shall help you? You are the help of the universe. What in this universe can help you? Where is the man, or the god, or the demon to help you? What can prevail over you? You are the god of the universe; where can you seek for help? Never help came from anywhere but from yourself. In your ignorance, every prayer that you made and that was answered, you thought was answered by some Being, but you answered the prayer yourself, unknowingly. The help came from yourself, and you fondly imagined that some one was sending help to you. There is no help for you outside of yourself; you are the creator of the universe. Like the silkworm you have built a cocoon around yourself. Who will save you? Cut your own cocoon and come out as the beautiful butterfly, as the free soul. Then alone you will see Truth. Ever tell yourself “I am He.” These are words that will burn up the dross that is in the mind, words that will bring out the tremendous energy which is within you already, the infinite power which is sleeping in your heart. This is to be brought out by constantly hearing the truth and nothing else. Wherever there is thought of weakness, approach not the place. Avoid all weakness if you want to be Jnâni.

Before you begin to practise, clear your mind of all doubts. Fight and reason and argue, and when you have established it in your mind that this and this alone can be the truth and nothing else, do not argue any more; close your mouth. Hear not argumentation, neither argue yourself. What is the use of any more arguments? You have satisfied yourself, you have decided the question. What remains? The truth has now to be realized, therefore why waste valuable time in vain arguments? The truth has now to be meditated upon and every idea that strengthens you must be taken up and every thought that weakens you must be rejected. The Bhakta meditates upon forms and images and all such things and upon God. This is the natural process, but a slower one. The Yogi meditates upon various centres in his body and manipulates powers in his mind. The Jnâni

says the mind does not exist, neither the body This idea of the body and of the mind must go, must be driven off; therefore it is foolish to think of them. It would be like trying to cure one ailment by bringing in another. His meditation therefore is the most difficult one, the negative; he denies everything, and what is left is the Self. This is the most analytical way. The Jnâni wants to tear away the universe from the Self by the sheer force of analysis. It is very easy to say, “I am a Jnâni,” but very hard to really be one. “The way is long; it is, as it were, walking on the sharp edge of a razor, yet despair not. Awake, arise, and stop not until the goal is reached,” say the Vedas.

So what is the meditation of the Jnâni? He wants to rise above every idea of body or mind, to drive away the idea that he is the body. For instance, when I say “I, Swâmi,” immediately the idea of the body comes. What must I do then? I must give the mind a hard blow and say, “No, I am not the body, I am the Self.” Who cares if disease comes or death in the most horrible form? I am not the body. Why make the body nice? To enjoy the illusion once more? To continue the slavery? Let it go, I am not the body. That is the way of the Jnâni. The Bhakta says: “The Lord has given me this body that I may safely cross the ocean of life and I must cherish it until the journey is accomplished.” The Yogi says: “I must be careful of the body so that I may go on steadily and finally attain liberation.” The Jnâni feels that he cannot wait, he must reach the goal this very moment. He says: “I am free through eternity, I am never bound; I am the God of the universe through all eternity. Who shall make me perfect? I am perfect already.” When a man is perfect he sees perfection in others. When he sees imperfection, it is his own mind projecting itself. How can he see imperfection if he has not got it in himself? So the Jnâni does not care for perfection or imperfection. None exists for him. As soon as he is free, he does not see good and evil. Who sees evil and good? He who has it in himself. Who sees the body? He who thinks he is the body. The moment you get rid of the idea that you are the body, you do not see the world at all. It vanishes forever. The Jnâni seeks to tear himself away from this bondage of matter by the force of intellectual conviction. This is the negative way,—the “neti, neti” (“not this, not this”).

VI

UNITY OF THE SELF

To illustrate the conclusion arrived at in our last lesson, I will read to you from one of the Upanishads, showing how these ideas were taught in India from the most ancient times.

Yajnavalkya was a great sage. You know the rule in India was that every man must give up the world when he became old. So Yajnavalkya said to his wife: “My beloved, here is all my money and my possessions, and I am going away.” She replied: “Sir, if I had this whole earth full of wealth would that give me immortality?” Yajnavalkya said: “No, that cannot be. Your life will be that of the rich, and that will be all, but wealth cannot give you immortality.” She replied: “That through which I shall become immortal, what shall I do to gain that? If you know that, tell me.” Yajnavalkya replied: “You have always been my beloved; you are more beloved now by this question. Come, take your seat, and I will tell you, and when you have heard, meditate upon it.” He continued: “It is not for the sake of the husband that the wife loves the husband, but for the sake of the Âtman (the Self) that she loves the husband, because she loves the Self. None loves the wife for the sake of the wife, but it is because he loves the Self that he loves the wife. None loves the children for the sake of the children, but because he loves the Self, therefore he loves the children. None loves wealth on account of the wealth, but because he loves the Self, therefore he loves wealth. None loves the Brahmin for the sake of the Brahmin, but because he loves the Self, he loves the Brahmin. So none loves the Kshatriya for the sake of the Kshatriya, but because he loves the Self. Neither does anyone love the world on account of the world, but because he loves the Self. None similarly loves the gods on account of the gods, but because he loves the Self. None loves anything for that thing’s sake, but it is for the Self of that thing that he loves it. This Self therefore, is

to be heard, is to be reasoned, and is to be meditated upon. Oh my Maitreyi, when that Self has been heard, when that Self has been seen, when that Self has been realized, then all these things become known.”

What does this mean? Before us we find a curious philosophy. That the Self shines through all these various things which we call the world. The statement has been made that every love is selfishness in the lowest sense of the word; because I love myself, therefore I love another; it cannot be. There have been philosophers in modern times who have said that self is the only motive power in the world. That is true, and yet it is wrong. This self is but the shadow of that real Self which is behind. It appears wrong and evil because it is limited. That very love we have for the Self, which is the universe, appears to be evil, because it is seen through limitation. Even when a wife loves a husband, whether she knows it or not, she loves the husband for that Self. It is selfishness as it is manifested in the world, but that selfishness is really but a small part of that “Self-ness.”

Whenever one loves, one has to love in and through the Self.

This Self has to be known. Those that love the Self without knowing what It is, their love is selfishness. Those that love knowing what that Self is, their love is free, they are sages. None loves the Brahmin for the Brahmin, but because he loves the Self, which is appearing through the Brahmin. “Him the Brahmin gives up who sees the Brahmin as separate from the Self. Him the Kshatriya gives up who sees the Kshatriya as separate from the Self. The world gives him up who sees this world as separate from the Self. The gods give him up who believes the gods to be separate from the Self. All things give him up who knows them as separate from the Self. These Brahmins, these Kshatriyas, this world, these gods, whatever exists, everything is that Self.” Thus Yajnavalkya explains what he means by that love. The difficulty comes when we particularize this love. Suppose I love a woman; as soon as that woman is particularized, is separated, from that Âtman (the Self), my love will not be eternal; it has become selfish and is likely to end in grief, but as soon as I see that woman as the Âtman, that Love becomes perfect, and will never suffer. So, as soon as you are attached to anything in the universe detaching it

from the universe as a whole—from the Âtman—then comes a reaction. With everything that we love outside the Self, grief and misery will be the result. If we enjoy everything in the Self, and as the Self, no misery or reaction will come. This is perfect bliss. How to come to this ideal? Yajnavalkya goes on to tell us the process by which to reach that state. The universe is infinite; how can we take every particular thing and look at it as the Âtman, without knowing the Âtman? “With a drum, when we are at a distance, we cannot conquer the sound by trying to control the sound waves, but as soon as we come to the drum, and put our hand on it, the sound is conquered. When the conch shell is being blown, we cannot conquer the sound, until we come near and get hold of the shell, and then it is conquered. When the vina is being played, as soon as we come to the vina, we can control the centre of the sound, whence the sound is proceeding. As when some one is burning damp fuel, all sorts of smoke and sparks of various kinds rise, even so from this great One has been breathed out history and knowledge; everything has come out of Him. He breathed out, as it were, all knowledge. As to all water the one goal is the ocean, as to all touch the hand is the one centre, as to all smell the nose is the one centre, as of all taste the tongue is the one centre, as of all form the eyes are the one centre, as of all sounds the ears are the one centre, as of all thought the mind is the one centre, as of all knowledge the heart is the one centre, as of all work the hands are the one centre, as of all speech the organ of speech is the one centre, as the concentrated salt is through and through the waters of the sea, yet not to be seen by the eyes; even so, oh Maitreyi, is this Âtman not to be seen by the eyes, yet He permeates this universe. He is everything. He is concentrated knowledge. The whole universe rises from Him, and again goes down unto Him. Reaching Him, we go beyond knowledge.” We here get the idea that we have all come just like sparks from Him, and that when we know Him then we go back, and become one with Him again.

Maitreyi became frightened, just as everywhere people become frightened. She said: “Sir, here is exactly where you have thrown a confusion over me. You have frightened me by saying there will be

no more gods; all individuality will be lost. When I reach that stage shall I know that Âtman, shall I reach the unconscious state and lose my individuality, or will the knowledge remain with me that I know Him? Will there be no one to recognize, no one to feel, no one to love, no one to hate? What will become of me?” “O Maitreyi!” replied her husband, “think not that I am speaking of an unconscious state, neither be frightened. This Âtman is indestructible, eternal in His essence; the stage where there are two is a lower one. Where there are two there one smells another, one sees another, one hears another, one welcomes another, one thinks of another, one knows another. But when the whole has become that Âtman, who is to be smelled by whom, who is to be seen by whom, who is to be heard by whom, who is to be welcomed by whom, who is to be known by whom? Who can know Him by whom everything is known? This Âtman can only be described as “neti, neti” (not this, not this). Incomprehensible, He cannot be comprehended by the intellect. Unchangeable, He never fades. Unattached, He never gets mixed up with Nature. Perfect, He is beyond all pleasure and pain. Who can know the Knower? By what means can we know Him? By no means; this is the conclusion of the sages, O Maitreyi! Going beyond all knowledge, is to attain Him and to attain immortality.”

So far the idea is, that it is all One Infinite Being, that is the Real Individuality, when there is no more division, no more parts and parcels, no more such low and illusory ideas. And yet, in and through every part of this little individuality is shining that Infinite, the Real Individuality Everything is a manifestation of the Âtman How to reach to that? Yajnavalkya told us in the beginning that—“This Âtman is first to be heard, then to be reasoned, then to be meditated upon.” Thus far he has spoken about the Self, the Âtman, as being the essence of everything in this universe. Then reasoning on the Infinite nature of that Self and the finite nature of the human mind he comes to the conclusion that it is impossible for the finite mind to know the Knower of all—the Self. What is to be done then if we cannot know the Self? Yajnavalkya tells Maitreyi that It can be realized, although It cannot be known, and he enters upon a discourse as to how It is to be meditated upon. This universe is helpful to every being and every being is also helping this universe,

for they are both part and parcel of each other, the development of the one helps the development of the other; but to the Âtman, the self-effulgent One, nothing can be helpful because It is perfect and infinite. All that is bliss, even in the lowest sense, is but the reflection of It. All that is good is the reflection of that Âtman, and when that reflection is less clear it is called evil. When the Âtman is less manifested it is called darkness—evil, and when it is more manifested it is called light—goodness. That is all. This good and evil are only a question of degree, the Âtman more manifested or less manifested. Just take the example of our own lives. How many things we see in our childhood which we think to be good, but which really are evil, and how many things seem to be evil which are good? How our ideas change! How an idea becomes higher and higher! What we thought very good at one time, we do not think so good now. Thus good and evil depend on the development of our minds, and do not exist objectively. The difference is only in the degree. All is a manifestation of that Âtman; It is being manifested in everything, only when the manifestation is very poor we call it evil, and when it is clearer we call it good. That Âtman Itself is beyond both good and evil. So everything that is in the universe is first to be meditated upon as all good, because it is a manifestation of that perfect One. He is neither evil nor good; He is perfect and the perfect can be only one. The good can be many, and the evil many, there will be degrees of variation between the good and the evil; but the perfect is only one, and that perfect One when seen through certain covering we call different degrees of good, and when seen through other covering we call evil. Our ideas of good and evil as two distinct things are mere superstition. There is only more good and less good and the less good we call evil. These mistaken ideas of good and evil have produced all sorts of dualistic delusions. They have gone deep into the hearts of human beings, terrorizing men and women in all ages. All the hatred with which we hate others is caused by these foolish ideas which we have imbibed since our childhood. Our judgment of humanity becomes entirely false; we make this beautiful earth a hell, but as soon as we can give up these false ideas of good and evil, it will become a heaven.

“This earth is blissful (‘sweet’ is the literal translation) to all beings, and all beings are sweet to this earth; they all help each other. And all this sweetness is the Âtman, that effulgent, immortal One.” That one sweetness is manifesting itself in various ways. Wherever there is any love, any sweetness in any human being, either in a saint or a sinner, either in an angel or a murderer, either in the body or the mind or the senses, it is all He. How can there be anything but the One? Whatever is the lowest physical enjoyment is He, and the highest spiritual enjoyment is also He. There is no sweetness but He. Thus says Yajnavalkya When you come to that state, and look upon all things with the same eyes; when you see in the drunkard’s pleasure in drink only that sweetness, or in the saints’ meditation only that sweetness, then you have got the truth, and then alone you will know what happiness means, what peace means, what love means. But as long as you make these vain distinctions, silly, childish, foolish superstitions, all sorts of misery will come. But that immortal One, the effulgent One, He is the background of the whole universe, it is all His sweetness. This body is a miniature universe, as it were; and through all the powers of the body, all the enjoyments of the mind, shines that effulgent One. That self-effulgent One who is in the body, He is the Âtman. “This world is so sweet to all beings, and every being is so sweet to it!” But the self-effulgent One, the Immortal is the bliss in this world. In us also, He is that bliss. He is the Brahman. “This air is so sweet to all beings, and all beings are so sweet to this air.” But He who is that self-effulgent immortal Being in the air, He is also in this body. He is expressing Himself as the life of all beings. “This sun is so sweet to all beings, and all beings are so sweet to this sun.” He who is the self-effulgent Being in the sun, Him we reflect as smaller lights. What can there be but His reflection? He is in the body, and it is His reflection which makes us see the light. “This moon is so sweet to all beings, and all beings are so sweet to this moon.” But that self-effulgent and immortal One who is the soul of that moon, He is in us expressing himself as mind. “This lightning is so sweet to all beings and all beings are sweet to this lightning,” but the self-effulgent and immortal One is the soul of this lightning, and is also in us, because all is that Brahman. This Brahman, this Âtman, this Self, is the King of all beings. These ideas are very

helpful to men; they are for meditation. For instance, meditate on the earth, think of the earth, at the same time knowing that we have in us that which is in the earth, that both are the same. Identify the body with the earth, and identify the soul with the Soul behind. Identify the air with the soul that is in the air and that is in you and so on. All these are one, manifested in different forms. To realize this unity is the end and aim of all meditation, and this is what Yajnavalkya was trying to explain to Maitreyi.

VII

THE HIGHEST IDEAL OF JNÂNA YOGA

As this is the last of these classes it is better that I give a brief resumé of all that I have been trying to tell you. In the Vedas and Upanishads we find records of some of the very earliest religious ideas of the Hindus, ideas that long antedated the time of Kapila, ancient as this great sage is. He did not propound the Sânkhya philosophy as a new theory of his own. His task was to throw the light of his genius on the vast mass of religious theories that were existing in his time and bring out a rational and coherent system. He succeeded in giving India a psychology that is accepted to the present day by all the diverse and seemingly opposing philosophical systems to be found among the Hindus. His masterly analysis and his comprehensive statement of the processes of the human mind have not yet been surpassed by any later philosopher and he undoubtedly laid the foundation for the Advaita philosophy, which accepted his conclusions as far as they went and then pushed them a step farther, thus reaching a final unity beyond the duality that was the last word of the Sânkhyas.

Among the religious ideas that preceded the time of Kapila the first groups that we see coming up,—I mean among recognized religious ideas, and not the very low ones, which do not deserve the name of religion,—all include the idea of inspiration, and revealed book and so forth. In the earliest step, the idea of creation is very peculiar; it is that the whole universe is created out of zero, at the will of God; that all this universe did not exist, and out of nothingness all this has come. In the next stage we find this conclusion is questioned. The first step in Vedânta asks this question: How can existence be produced out of non-existence? If this universe is existent it must have come out of something, because it was easy for them to see that there is nothing coming out of nothing anywhere. All work that is

going on by human hands requires materials. Naturally, therefore, the ancient Hindus rejected the first idea that this world was created out of nothing, and sought some material out of which this world was created. The whole history of religion, in fact, is this search for material. Out of what has all this been produced? Apart from the question of the efficient cause, or God, apart from the question whether God created the universe, the great question of all questions has been, out of what did God create it? All the philosophies are turning, as it were, on this question.

One solution is that nature and God and soul are eternal existences, as if three parallel lines are running eternally, of which nature and soul comprise what they call the dependent, and God the independent Being. Every soul, like every particle of matter, is perfectly dependent on the will of God. These and many other ideas we find already existing when the Sânkhya psychology was brought forward by Kapila. According to it, perception comes by the transmission of the suggestion, which causes perception first to the eyes, from the eyes to the organs, from the organs to the mind, the mind to the buddhi and from the buddhi to something which is a unit, which they call the Âtman. Coming to modern physiology we know that they have found centres for all the different sensations. First are found the lower centres, then a higher grade of centres, and these two will exactly correspond with the actions of the buddhi and the manas (mind), but not one centre has been found which controls all the other centres, so philosophy cannot answer what unifies all these centres. Where and how do the centres get unified? The centres in the brain are all different, and there is not one centre which controls all the others; therefore, so far as it goes, the Sânkhya psychology stands unchallenged upon this point. We must have this unification, something upon which the sensations will be reflected to form a complete whole. Until there is that something I cannot have any idea of you, or the picture, or anything else. If we had not that unifying something we would only see, then after a while hear, and then feel, and while we heard a man talking we should not see him at all, because all the centres are different.

This body is made of particles which we call matter, and it is dull and insentient. So is what is called the fine body. The fine body, according to the Sânkhyas is a little body, made of very fine particles, so fine that no microscope can see them. What is the use of it? It is the receptacle of what we call mind. Just as this gross body is the receptacle of the grosser forces, so the fine body is the receptacle of the finer forces, that which we call thought, in its various modifications. First is the body, which is gross matter, with gross force. Force cannot exist without matter. It can only manifest itself through matter, so the grosser forces work through the body and those very forces become finer; the very force which is working in a gross form works in a fine form and becomes thought. There is no real difference between them, simply one is the gross and the other the fine manifestation of the same thing. Neither is there any difference in substance between the fine body and the gross body. The fine body is also material, only very fine material.

Whence do all these forces come? According to the Vedânta philosophy there are two things in Nature, one of which they call Âkâsa, which is substance, or matter, infinitely fine, and the other they call Prâna. Whatever you see, or feel, or hear, as air or earth, or anything, is material. And everything is a form of this âkâsa. It becomes finer and finer, or grosser and grosser, and it changes under the action of Prâna (universal Energy). Like âkâsa, prâna is omnipresent, interpenetrating everything. Âkâsa is like the water, and everything else in the universe like blocks of ice, made out of that water and floating in it, and prâna is the power that changes the âkâsa into all these various forms. This body is the instrument made out of âkâsa for the manifestation of prâna in gross forms, as muscular motion, or walking, sitting, talking, and so on. The fine body also is made of âkâsa, a much finer form of âkâsa, for the manifestation of the same prâna in the finer form of thought. So, first there is this gross body, beyond that is the fine body, and beyond that is the jiva (soul), the real man. Just as these finger nails can be pared off a hundred times a year, and yet are still a part of our bodies, not different, so we have not two bodies. It is not that man has a fine and also a gross body; it is the one body, only it remains longer when it is a fine body, and the grosser it is the sooner it

dissolves. Just as I can cut this nail a hundred times a year, so millions of times I can shed this body in one æon, but the fine body will remain. According to the dualists this jiva, or the real man, is very fine, minute.

So far we have seen that man is a being who has first a gross body which dissolves very quickly, then a fine body which remains through æons, and lastly a jiva. This jiva, according to the Vedânta philosophy, is eternal, just as God is eternal, and Nature is also eternal, but changefully eternal. The material of Nature, the prâna and the âkâsa, are eternal, but are changing into different forms eternally. Matter and force are eternal, but their combinations vary continually. The jiva is not manufactured, either of âkâsa, or of prâna; it is immaterial, and therefore will remain for ever. It is not the result of any combination of prâna and âkâsa, and whatever is not the result of combination will never be destroyed, because destruction is decomposition. That which is not a compound cannot be destroyed. The gross body is a compound of âkâsa and prâna in various forms and will be decomposed. The fine body will also be decomposed after a long time, but the jiva is a simple, and will never be destroyed. For the same reason, we cannot say it ever was born. Nothing simple can be born; the same argument applies. Only that which is a compound can be born. The whole of this nature combined in these millions of forms is under the will of God. God is all pervading, omniscient, formless, everywhere, and He is directing this nature day and night. The whole of it is under His control. There is no independence of any being. It cannot be. He is the Ruler This is the teaching of dualistic Vedânta.

Then the question comes, if God be the Ruler of this universe, why did He create such a wicked universe, why must we suffer so much? The answer is made that it is not God’s fault. It is our own fault that we suffer. Whatever we sow that we reap. God does not do anything to punish us. If a man is born poor, or blind, or lame, he did something before he was born in that way, something that produced these results. The jiva has been existing for all time, was never created. It has been doing all sorts of things all the time. Whatever we do we suffer for. If we do good we shall have happiness, and if

bad, unhappiness. This jiva is by its own nature pure, but ignorance covers its nature, says the dualist. As by evil deeds it has covered itself with ignorance, so by good deeds it can become conscious of its own nature again. Just as it is eternal, so its nature is pure. The nature of every being is pure. When through good deeds all its sins and misdeeds have been washed away, then the jiva becomes pure again, and when he becomes pure he goes after death by what is called Devayana (the path of the gods), to heaven, or the abode of the gods. If he has been only an ordinarily good man he goes to what is called the “Abode of the Fathers.”

When the gross body falls, the organs of speech enter the mind. You cannot think without words; wherever there are words there must be thought. The mind is resolved into the prâna, and the prâna resolves into the jiva. Then the jiva leaves the body and goes to that condition of reward or punishment which he has earned by his past life. Devaloka is the “place (or abode) of the gods.” The word deva (god) means bright or shining one, and corresponds to what the Christians and Mohammedans call “angels.” According to this teaching there are various heavenly spheres somewhat analogous to the various heavens described by Dante in the Divine Comedy. There are the heaven of the fathers (or pitris), devaloka, the lunar sphere, the electric sphere and highest of all the Brahmaloka, the heaven of Brahma. From all the lower heavens the jiva returns again to human birth, but he who attains to Brahmaloka lives there through all eternity. These are the highest men who have become perfectly unselfish, perfectly purified, who have given up all desires, do not want to do anything except to worship and love God. There is a second class, who do good works, but want some reward, want to go to heaven in return. When they die the jiva goes to the lunar sphere, where it enjoys and becomes a deva (god or angel). The gods, the devas, are not eternal, they have to die. In heaven they will all die. The only deathless place is Brahmaloka, where alone there is no birth and no death. In our mythology it is said there are also the demons, who sometimes give the gods chase. In all mythologies you read of these fights between the demons, or wicked angels, and the gods and sometimes the demons conquer the gods. In all mythologies also, you find that the devas were fond of the beautiful

daughters of men. As a deva, the jiva only reaps results of past actions, but makes no new Karma. Only man makes Karma. Karma means actions that will produce effects, also those effects, or results of action. When a man dies and becomes a deva he has a period of pleasure, and during that time makes no fresh Karma; he simply enjoys the reward of his past good works. But when the good Karma is worked out then the other Karma begins to take effect.

In the Vedas there is no mention of hell. But afterwards the Purânas, the later books in our Scriptures, thought that no religion could become complete without a proper attachment of hells, and so they invented all sorts of hells, with as many, if not more, varieties of punishment than Dante saw in his Inferno, but our books are merciful enough to say that it is only for a period. Bad Karma is worked out in that state and then the souls come back to earth and get another chance. This human form is the great chance. It is called the karmic body, in which we decide our fate. We are running in a huge circle, and this is the point in the circle which determines the future. So a human body is considered the greatest body there is; man is greater than the gods. Even they return to human birth. So far with dualistic Vedânta.

Next comes a higher conception of Vedânta philosophy, which says that these ideas are crude. If you say there is a God who is an infinite Being, and a soul which is also infinite, and Nature which is also infinite, you can go on multiplying infinites indefinitely, but that is illogical, because each would limit the other and there would be no real infinite. God is both the material and the efficient cause of the universe; He projects this universe out of Himself. Does that mean that God has become these walls, and this table, that God has become the animal, the murderer and all the evils in the world? God is pure, how can He become all these degenerate things? He has not. God is unchangeable, all these changes are in Nature; just as I am a soul and have a body, this body is not different from me in a sense, yet I, the real “I,” in fact am not this body. For instance, I am a child, I become a young man, an old man, but my soul has not changed. It remains the same soul. Similarly the whole universe comprises all Nature, and an infinite number of souls, or, as it were,

the infinite body of God. He is interpenetrating the whole of it. He alone is unchangeable, but Nature changes and soul changes. In what way does Nature change? In its forms; it takes fresh forms. But the soul cannot change that way. The soul contracts and expands in knowledge. It contracts by evil deeds; those deeds which contract the natural knowledge and purity of the soul are called evil deeds. Those deeds, again, which bring out the natural glory of the soul, are called good deeds. All these souls were pure, but they have become contracted by their own acts. Still, through the mercy of God, and by doing good deeds, they will expand and become pure again. Every soul has the same chance, and, in the long run, must become pure and free itself from Nature. But this universe will not cease, because it is infinite. This is the second theory. The first is called dualistic Vedânta; the second teaches that there is God, soul, and Nature, that soul and Nature form the body of God, and that these three form one unit. Believers in this second theory are called qualified nondualists (Visishtadvaitins).

The last and highest theory is pure monism, or as it is known in India, Advaita. It also teaches that God must be both the material and the efficient cause of this universe. As such, God has become the whole of this universe. This theory denies that God is the soul, and the universe is the body, and the body is changing. In that case what is the use of calling God the material cause of this universe? The material cause is the cause become effect; the effect is nothing but the cause in another form. Wherever you see effect, it is the cause reproduced. If the universe is the effect, and God the cause, this must be the reproduction of God. If it be claimed that the universe is the body of God and that that body becomes contracted and fine and becomes the cause, and out of that the universe is evolved, then the advaitist says it is God Himself who has become this universe. Now comes a very fine question. If God has become this universe, then everything is God. Certainly; everything is God. My body is God, and my mind is God, and my soul is God. Then why are there so many jivas? Has God become divided into millions and millions of jivas? How can that infinite power and substance, the one Being of the universe become divided? It is impossible to divide infinity. How can the pure Being become this universe? If He has

become the universe, He is changeful, and if He is changeful, He is in Nature, and whatever is in Nature is born and dies. If God is changeful, He must die some day. Remember that. Again, how much of God has become this universe? If you say “X,” the algebraical unknown quantity, then God is God minus “X” now, and therefore not the same God as before this creation, because so much of Him has become this universe. The answer of the non-dualist is that this universe has no real existence, it exists in appearance only. These devas and gods and angels and being born and dying, and all this infinite number of souls coming up and going down, all these things are mere dreams. All is the one Infinite. The one sun reflected on various drops of water appears to be many, millions of globules of water reflect so many millions of suns and in each globule will be a perfect image of the sun, yet there is only one sun, and so it is with all these jivas, they are but reflections of the one infinite Being. A dream cannot be without a reality, and that reality is the one infinite Existence. You, as body, mind, or soul, are a dream, but what you really are is Existence-Knowledge-Bliss Absolute. Thus says the Advaitist. All these births and rebirths, this coming and going are but parts of the dream. You are infinite. Where can you go? The sun, moon, and the whole universe are but a drop in your nature. How can you be born or die? The Self was never born, never will be born, never had father or mother, friends or foes, for it is ExistenceKnowledge-Bliss Absolute.

What is the goal, according to this philosophy? That those who receive this knowledge are one with the universe; for them all heavens, even Brahmaloka, are destroyed, the whole dream vanishes, and they find themselves the eternal God of the universe. They attain their real individuality, infinitely beyond these little selves which we now think of so much importance. No individuality will be lost; an infinite and eternal Individuality will be realized. Pleasures in little things will cease. We are finding pleasure in this little body, in this little individuality. How much greater the pleasure when this whole universe is in our one body? If there be pleasure in these separate bodies, how much more when all bodies are one? The man who has realized this has attained to freedom, has gone beyond the

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CONTENTS

PREFACE

ACKNOWLEDGMENTS

ABOUTTHEAUTHORS

ABOUTTHECONTRIBUTORS

VI

UNITY OF THE SELF

VII

THE HIGHEST IDEAL OF JNÂNA YOGA