A POSTMODERNIST ART THERAPY GROUP CURRICULUM FOR WOMEN WHO HAVE BEEN ABUSED BY THEIR MALE PARTNERS by Sarah E. Milner B.A., UniversityofVictoria, 1999 PROJECT SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF EDUCATION m EDUCATIONAL COUNSELLING THE UNIVERSITY OF NORTHERN BRITISH COLUMBIA December 2003 © Sarah E. Milner, 2003 UNIVERSITY OF NORTHERN BRITISH COLUMBIA LIBRARY Prince George, BC II Abstract A prevalence of physical, sexual, emotional, and psychological abuse of women by their male partners exists in North America. Numerous physical and mental health problems are associated with the female victims of such abuse. Although there are a range of treatment interventions available to help both the abusers and victims of partner abuse, the viable treatment option of an art therapy group for abused women has not been well represented in the literature. To fill in this gap in the literature, I have developed an art therapy group curriculum that emphasizes the process of making art, and not the end-product of art to benefit both practitioners and abused women. This curriculum provides practitioners with a new and alternative option for working with women consisting of postmodernist and Person Centered approaches that, if implemented, will provide women of abuse with safe and creative group environments in which to heal. I have developed this curriculum in alignment with feminist concerns of power imbalances in North American patriarchal society. It is structured in a manner that allows women the freedom to determine appropriate topics, media, and art activities, as well as to develop their own unique perspectives for their life experiences. iii Table of Contents Abstract Table of Contents Acknowledgments u m v CHAPTER ONE Statement of the Problem Background Health Implications of Abuse Treatment Methods Addressing Partner Abuse Artistic Interventions for Victims Group Considerations for Working with Female Victims 1 1 2 4 5 8 12 Theoretical Framework Modernism Postmodernism Feminist Theory Rogerian Theory 15 15 16 17 20 Project Questions Rationale Summary 23 23 24 CHAPTER TWO Methods Group Members The Facilitator Qualities Congruence Acceptance Empathic Listening Procedures Safety Curriculum Check-In/Warm-Up Art-Making Discussion/Closing CHAPTER THREE Art Therapy Group Curriculum Art Therapy Group Curriculum in Eight Sessions Group Session One Group Session Two Group Session Three to Six Group Session Seven 26 26 26 26 27 28 30 33 33 34 34 34 35 36 36 40 40 50 57 61 iv Group Session Eight 65 CHAPTER FOUR Discussion My Initial Vision of the Project My Journey Selecting Theories My Shift Away from My Initial Vision My Current Vision of the Curriculum My Trial-Run Conclusion 70 70 70 71 73 75 78 79 References 82 Appendix 1: Art Material 88 v Acknowledgements I am so very grateful for having the privilege of attending post-secondary school in this fine country of Canada. I have been blessed with much assistance and encouragement as I have embarked on this long educational journey. Without the support of my grandmother Mona Aubert, and my parents Michael and Leslie, I would not have been able to follow this educational path. I offer my humblest thank you to my supervisor Trudy Mothus, for her passion for teaching, her dedication to academic excellence, and her immense guidance and assistance through out this project. I am also very grateful to my committee members Dennis Procter and Sharon Reinderhoff for all of their assistance. Finally, I am thankful to my friend David Radies for his support and encouragement on the final hurdle of this degree, and to the Creative, for providing me with faith in the power of creativity and art. I dedicate this project to people who have suffered from abuse, and I hope that they may find safe ways to blossom and fully express who they are. CHAPTER ONE A Postmodernist Art Therapy Group Curricula for Women Who Have Been Abused by their Male Partners Statement of the Problem Partner abuse is perpetuated against men and women in both heterosexual and homosexual relationships. However, a prevalence of partner mistreatment occurs against women in heterosexual partnerships. Abuse occurs in many different societies in the world, including North America. Four types of partner abuse are common and consist of: physical abuse, or the use of any physical force by one person towards another with the intention of making the victim afraid (Pence & Paymar, 1993); sexual abuse, or nonconsensual sexual behaviour ranging from unwanted sexual touching to rape (Follingstad, Brennan, Hause, Polek, & Rutledge, 1991); emotional abuse, or any attack on a person's emotional state or how they feel about themselves through the use of such behaviours as unreasonable demands and verbal attacks (Pence & Paymar, 1993); and psychological abuse, or the use of "mind games" or any form of power and control to undermine a person's mental capacity, or sense of mental stability (Follingstad et al., 1991). In this project I have elected to concentrate on the abuse and treatment of women because of my experience working with women who have been abused by their male partners. Therapists and practitioners who work with those who abuse and those who are victims have utilized several different treatment strategies in response to these four forms of abuse. Such strategies work to change abusive behaviours and reduce some of the physical and mental health consequences in female victims. One relevant type of 2 treatment consists of an art therapy program combining psychotherapy and art in a group context for the female victims of partner abuse. It is this treatment approach that will be explored and developed in this project. A postmodern view, which challenges the notions that it is possible to represent a reality, speak for others, make 'truth' claims and attain universal essential understandings, provides a unique view of the meaning-making processes of the women for whom practitioners provide therapy. By meaning, I refer to the expressions of women, or representations that women develop, to express their experiences. An art therapy group for female victims of abuse based on such a theoretical foundation would be a relevant and valid approach for this population, yet I have located no studies that document the use of art in such a group context and utilizing such a theoretical foundation. Thus, the problem exists of developing appropriate art therapy curricula to use with a group of women who have been abused by their male partners. With this project I have developed such a curricula to provide practitioners and researchers with resources aimed at promoting physical and emotional health in abused women through the facilitation of unique meaning-making processes for each woman, and between group members. Background Partner abuse can be subtle, and not easily recognizable by the victim, the victim's community, work organizations, or community based agencies. The pervasiveness of this problem is, therefore, not always obvious. Partner abuse has been explored by numerous researchers. North American studies examining couples applying for therapy have found that as many as 70% of such couples experience physical 3 aggression problems, even though they may define their presenting problem as something else (Ehrensaft & Vivian, 1996; O'Leary & Murphy, 1992). Other studies examining the mistreatment of women within the context of relationships have also indicated high levels of abuse (Browne, 1993; Coker, Smith, McKeown, & King, 2000). Browne (1993) reviewed the most prominent studies examining the prevalence of violence against women. The overall findings of these studies suggested that between 21% and 34% of women in the United States are physically assaulted by being slapped, choked, kicked, beaten, threatened with a weapon, and/or attacked with a weapon by an adult partner. A Canadian study (Statistics Canada, 1995) found similar results and indicated that 29% of women reported having been physically assaulted by their male partner at least once. Although physical abuse is commonly reported, other forms of abuse are also prevalent in partnerships. Coker et al. (2000) examined the frequency of different types of abuse against 1, 401 18 to 65 year old women in partnerships who attended family practice clinics in Columbia, Sacramento in 1997 and 1998. An in-clinic survey was utilized to assess partner violence. Fifty-two percent of all women had experienced some type of partner violence in a current, most recent, or past relationship with a male partner. Of these women, 20.2% were currently involved in an abusive relationship. Among those who experienced partner violence in any relationship, 77.3% experienced physical or sexual abuse, and 22.7% experienced non-physical abuse such as emotional or verbal abuse; that is, the deliberate use of derogatory or demeaning language in an effort to reduce the victim's self-esteem. 4 The magnitude of reported incidences of abuse and violence against women in North American society suggests that such abuse has health consequences for many women. Health Implications of Abuse The range of physical health problems associated with female victims of partner abuse consist of ailments such as cuts, burns, bruises, broken bones, concussions, penetrating injuries from knives and other objects, miscarriages, partial loss of hearing or vision, permanent injuries such as damage to joints, and physical disfigurement from burns, bites, or knife wounds (Heise, Raikes, Watts & Zwi, 1994). Partner violence can also lead to death. For example, a relevant, yet older statistic indicates that 62% of women murdered in Canada in 1987 died as a result of actions from their male partner (Heise et al., 1994). In addition to these more blatant physical injuries and deaths, women in abusive relationships often experience less clearly defined somatic complaints such as abdominal pains, chronic headaches, recurrent vaginal infections, and eating and sleep disorders (Heise et al.). These physical problems are serious and threatening to women's health, yet they are only some of the health implications associated with partner abuse. Mental health issues have also been identified in women who have been in abusive relationships. The main mental health response, and key reason for women in abusive relationships going to a primary health care setting, is depression (Campbell & Soeken, 1999; Campbell, Sullivan, & Davidson, 1995; Cascardi & O'Leary, 1992; Gondolf, 1998; McCauley, Kern, Kolodner, Dill, Schroeder, DeChant, Ryden, Bass, & Derogatis, 1995; Saunders, Hamberger, & Hovey, 1993). Additionally, anxiety or stress (Campbell, 1989; Campbell, & Soeken, 1999), somatization (McCauley, et al. 1995), low 5 self-esteem (Campbell, 1989; Cascardi, & O'Leary, 1992; McCauley et al., 1995), critical body image, (Campbell, 1989), and limited ability to care for the self (Campbell & Soeken, 1999), have all been associated with this population. Treatment Methods Addressing Partner Abuse Numerous treatment strategies have been developed in response to high rates of physical, sexual, emotional, and verbal or psychological abuse against women in North America, and to the physical and mental health implications associated with these victims. These treatment interventions are utilized to help work with both the victims and the abusers, and to reduce abuse and/or the impacts of abuse. Such strategies range from counselling for couples to approaches that work specifically with males or with females. Counselling for couples who are facing the issue of partner abuse has often been conducted using a family systems therapy approach (Johannson & Tutty, 1998). Family systems therapy sees the entire family as a unit or a system, and the focus is often on the interaction of family members (Sharf, 2000). The utilization of such an approach results in the allotment of equal responsibility for the abusive behaviour to both partners, since each is seen as contributing to the escalation of anger (Russell, 1988). This type of treatment for couples with abusive tendencies is currently one of the more controversial issues in the field of marital and family therapy (Johannson & Tutty, 1998). Although there may be proponents who endorse couples counselling for abusive relationships, Walker (1995) states that the prevailing conclusion in the literature recommends that even couples who have not yet experienced violence at lethal levels should not be seen together in counselling sessions. In consideration of the potential risks associated with this type of counselling, such as increased anxiety for women that another battering 6 incident will occur (Walker, 1995) or the inability to speak openly in the presence of the abusive partner, the use of all-male and all-female treatments appear to be more appropriate methods of addressing the problem of partner abuse. In general, treatment programs that work specifically with men who abuse their female partners have the primary goal of stopping violence (Feldman & Ridley, 1995). Often, multiple-component interventions are used to provide information about the unacceptable nature of abuse, as well as how abuse is a behaviour that is learned and maintained because of its functionality in the relationship as a means of gaining control over the partner and reducing tension (Feldman & Ridley, 1995). Such treatment programs vary, and can consist of psycho-educational treatments that provide information, court-ordered treatments, or group work. Alternately, men can obtain individual counselling to help change their abusive behaviours (Babcock, 1999; Edleson & Syers, 1990; Pence & Paymar, 1993). Although these treatment methods may be helpful in reducing some of the abusive behaviours in relationships, they do little to address the physical and emotional health problems that impact female victims, even after they have left their abusive partnerships. Such health problems may be able to be addressed using all-female treatment programs. Women who have been abused by their male partners often seek emergency shelters first, before accessing other resources in the community (Tutty, 1996). The emergence of such shelter services has been crucial for the well-being of victims of abuse, as these shelters offer a safe place to stay, time to think away from the emotional turmoil of the women's homes, and support from staff and other residents (Nicarthy, Merriam, & Coffman, 1984). Such facilities, however, typically provide only short-term 7 assistance that ranges in length from 2 to 3 weeks before women must reenter the community (Tutty, 1996). In order to address some of the issues that abused women face after leaving shelters, follow up programs have been developed. Follow-up programs are a relatively new development in the continuum of shelter services. These programs are intended to provide ongoing support to former shelter residents who have decided to live independently from their abusive partner. Services are usually offered for approximately 3 to 6 months, and start immediately after the women leave the emergency shelter. The major goal of these programs is to respond to the various needs expressed by abused women, and to coordinate the support services required for these women to remain independent and safe. Follow-up workers respond to such needs by providing a range of services that include individual counselling, advocacy, and the running of support groups on topics such as self-esteem, grief, and coping with childhood abuse (Tutty, 1996). Although group work can be incorporated into follow-up programs for abused women, it is also commonly used outside of the follow-up context. Group work for women who have been abused by their male partners is the most common mode of intervention with this population (Tutty, Bidgood, & Rothery, 1993). Tutty et al., (1993) state that most practitioners consider support groups to be the treatment of choice when working with female victims of partner abuse. These groups were initially developed for women in shelters, and as such, often addressed challenges that women encountered when finding new places to live, seeking employment, and coping with the loss of their relationships (Tutty, et al.). The benefits of these initial support groups and of support groups today are deemed to consist of encouragement, 8 support, and a reduction in the social isolation that many abused women face (Harris, 1985). Although a range of treatment modalities exist to address the issue of partner abuse, strategies specifically for female victims may aid in the reduction of health problems associated with this population. Group work appears to be a valid and commonly used method of working with abused women and, therefore, may be associated with better health in female victims. Although artistic activities in a group context have not been identified as a means of working with abused women, such a format may be relevant and effective when working with this population. Artistic Interventions for Victims Art therapy, although already briefly defined, is described in more detail by The British Columbia Art Therapy Association (2000). They state that art therapy is the bringing together of psychotherapy and visual art in a creative process that uses the created image as a basis for self-exploration and self-understanding. In order to determine the appropriateness of this form of therapy in a group context with female victims of partner abuse, a greater understanding of art therapy is needed. Such an understanding can be provided by exploring information on the early use of art in therapeutic contexts, the different views of art therapy effectiveness, and the gaps in the empirical literature in regards to working specifically with women who have been in abusive relationships. Art emerged in therapeutic contexts in the 1940's around the same time as group sessions were developing in Britain (Waller & Gilroy, 1992). It was not until the 1960's, however, that art therapy became recognized as a profession (Spaniol, 2001). Early practitioners utilizing this form of therapy, such as Margaret Naumburg in the 1940's and 9 Edith Kramer in the 1950's, often did so in group formats. Although this implementation of art therapy in group contexts supports the notion that such formats can be applied with various clients, including women who have been abused by their male partners, this work must also be grounded in an understanding of what makes art therapy effective. Malchiodi ( 1998) suggests that art therapy aids in healing, growth, and rehabilitation through either the art-making process itself, or through an examination of the end-product in order to promote an understanding of the people making the art. These two distinctions in the views of art therapy effectiveness are further identified by both Malchiodi (1998) and Tomson (1997). They state that one current understanding of art therapy is the belief that "art is therapy, " and through the creation of art, healing takes place. This notion differs from the second current belief, which is the notion of "art psychotherapy. " This view of art therapy suggests that when art is made, a process takes place where symbolic imagery created by the client helps to enhance a verbal exchange between themselves and the therapist, therefore aiding in the achievement of insight (Malchiodi, 1998). Although both explanations for the effectiveness of art therapy are deemed equally credible, it is the first stance which values the creation of art in itself as a means of healing that may be relevant when working with abused women. This is so, as women in abusive relationships often put their own needs aside and focus on the needs of the abuser in order to cope with, and survive, the abuse. Women in such situations rarely have freedom or power in their relationships. The activity of art-making in itself has been identified as a means of addressing some of these challenges that women face. 10 Tomson ( 1997) states that the process of making art enables the person engaging in the art activity to feel a type of liberation or freedom from the constraints of debilitating patterns of living, such as those experienced in abusive relationships. Brooke (1995) supports the notion that art activity is beneficial by stating that expression through art is a procedure that aids in the development of empowerment or increased efficacy within a client's life (DeChant, 1996). Additionally, the activity of making art is associated with freedom to express emotions (Malchiodi, 1998, Rogers, 1993). Freedom, liberation, empowerment, skill, and efficacy are all relevant concepts that are deficient in the lives of abused women, and may in fact address some of the health problems associated with this population. The process of engaging in art, therefore, appears to be a valid avenue from which to work with female victims of partner abuse, and limited empirical studies have been conducted that utilize art therapy in group contexts specifically with such women. For example, art therapy has been utilized with groups of women who have endured sexual assault, incest, and sexual abuse (Anderson, 1995; Backos & Pagon, 1999; Brooke, 1995; Garrett & Ireland, 1979; Sweig, 2000; Waller, 1992). However, only one reference has been located using art therapy in a group format specifically with female victims of partner abuse. W adeson (2000) describes an art therapy group for women conducted by Haddon (1989) in an unpublished Masters Degree thesis at the University of Illinois. As I was unable to locate a copy of this thesis, I will provide a brief outline of Wadeson's (2000) summary of this study. Haddon ( 1989) is described as developing an art therapy program for women at a shelter providing emergency housing for women and their children II fleeing abusive partners. Participants were stated to be mostly from lower socioeconomic groups, in need of resources, and facing depression. Haddon ( 1989) included art therapy into a weekly support group for residents and walk in clients at the shelter. Wadeson (2000) summarizes Haddon's (1989) account of the participants' process of creating artwork within the group, as one that allowed the participants to express painful feelings that may not have been acknowledged otherwise. The art making process is portrayed as serving a cathartic purpose, by giving the women a safe context in which to release anger. As Haddon's ( 1989) thesis is not available, my understanding of the nature of this research is limited. Although positive results are reported from the group, Wadeson (2000) provides no information about how the data was analyzed, the specific results of this study, or the conclusions. Additionally, there is limited description of the demographical characteristics of the participants, the length of the group sessions, the nature of the art experience in the group sessions, and the duration of these sessions. The development of an art therapy group curriculum for female victims of partner abuse helps to fill in the gap in the literature by creating a viable group structure for researchers and practitioners to utilize with this population. Further examination of the effectiveness of such groups may be promoted as more practitioners and researchers can utilize the curriculum to facilitate groups. Overall, the development of an art therapy group curriculum for women who have been in abusive relationships may be relevant and beneficial for this population. This is so, as art therapy has been utilized in various group contexts over the course of this century. Additionally, the process of engaging in art is associated with empowerment and shifts away from debilitating life patterns, such as those found in abusive relationships. 12 Finally, the development of such a curriculum would provide practitioners and researchers wishing to fill in the gap in the literature with more and different resources, as currently most existing group curricula are psycho-educational in nature. It is not only important to formulate a relevant curricula for female victims of partner abuse, but it is also essential that such curricula be developed and structured in a manner that is appropriate for the victims. Group Considerations for Working with Female Victims When developing art groups for women who have been abused, it is necessary to consider the type of group, approach, facilitator, number of participants, frequency of group meetings, overall lifespan, length, and group format. There are two main types of art therapy groups: art studio groups (or open studio groups) and art psychotherapy groups. Art studios or open studio groups are studio-type groups that are structured in a manner to allow group members to work as artists, rather than participants. Art psychotherapy groups, on the other hand, are usually formed around a theme or population (Malchiodi, 1998). This second type of group would, therefore, be appropriate for a population of women who had been abused. Additionally, art psychotherapy groups typically structure an opening discussion, an experiential process, and a post-experiential discussion, and such a structure would be beneficial for abused women. Women in abusive relationships are often isolated, and a group that is structured in a manner that brings group members together for an initial discussion and a closing discussion, would create more interaction between group members and may further promote connections between group members. 13 Not only is the type of group important, but so is the approach of the group. Art therapy groups can be developed using directive or non-directive approaches. Directive approaches provide tasks for participants with specific themes or instructions. Alternately, nondirective approaches, or spontaneous art, free art, or free art expression, have no specific subject matter or way of doing an art task. Nondirective approaches are sometimes called spontaneous art as art is created without any preconceived notion of what one is going to make (Malchiodi, 1998). A nondirective approach allows participants the freedom to create whatever they want. Therefore, such an approach would be appropriate for abused women, as many women have had limited freedom and choices in their relationships. Once an approach is structured into the group, it is up to the facilitator to implement it. The appropriate person to facilitate an art therapy group for women must be female (Oakley, 1996). Women's groups facilitated by females are believed to offer models of empowerment to group participants (Oakley, 1996). Female facilitators model to groups that women can be effective leaders, be confident in their own abilities, and be both caring and assertive at the same time (Bernardez, 1996). Groups for women who have been abused must not only have an appropriate facilitator, but they must also meet the needs of the participants in their size and length. Yalom ( 1995) suggests that a group of seven or eight participants is ideal. He also states that such groups typically meet once a week, as groups that meet less than once a week are deemed to have problems maintaining an interactional focus, while groups meeting more than once a week often face the logistical challenges of trying to coordinate participants' schedules. 14 Yalom ( 1995) states that groups should consist of the shortest number of sessions to meet the needs of a specified group. His recommendations range from eight to twenty sessions. This range of group lifespans is consistent with some studies that utilize art therapy with vulnerable populations (Ponteri, 2001; Stanley & Miller, 1993). The art therapy sessions in these studies took place over a period of eight weeks. I believe an eight-week lifespan may, therefore, be the shortest number of sessions that are appropriate for abused women in an art therapy group context. The length of the group sessions should fall between one and two hours (Y alom, 1995). Although session lengths can vary, a two hour group session may be appropriate specifically with women within an art therapy context. Wadeson (2000) depicts such a group in which she uses two hours to provide women with time to experiment with art materials, engage in an art activity, and then finish up with a discussion. I believe that such a lifespan may also be appropriate for an art therapy group specifically for women who have been abused by their male partners. In addition to developing a workable group time structure for women participating in the proposed curriculum, it is also necessary to format the group in a manner that is sensitive to such women's needs and/or concerns. Groups can be facilitated in either an open or closed format. Open groups maintain their size by replacing members as they leave the group (Yalom, 1995). This differs from closed groups which, once begun, accept no new members, and usually meet for a predetermined number of sessions (Yalom, 1995). A closed group format is deemed suitable when working with abused women; there is a consistency of membership in a closed format that promotes a sense of trust for participants. Abused women may already find trust to be a challenge, without the added variability of changing group membership. 15 The specific needs of women who have been abused must be taken into consideration in the development of the group curriculum through the selection of appropriate group type, approach, and structure, yet the curriculum must be also be based on a sound theoretical foundation. Theoretical Framework I have selected a postmodernist theoretical framework as the basis for the development of the art therapy group curriculum for women who have been abused by their male partners. First, I will present a brief description of modernism to provide a context from which to understand postmodernism. Next, I will explore postmodernism in greater detail. Finally I will examine feminist and Rogerian theories, their applicability within a postmodern framework, and their relevance in an art therapy group for female victims of partner abuse. Modernism Modernist thought within the context of the social sciences consists of concepts such as the existence of a stable, coherent self; a belief that reason and science can provide an objective and universal foundation for knowledge; a belief that knowledge acquired from the right use of reason will be 'true' and will represent something unchanging and universal about the structure of the natural world and our minds; a belief that reason itself has universal qualities and exists independently of the self; an assumption that complex connections exist between reason, autonomy, and freedom (i.e. autonomy and freedom fit within the context of reason, and are consistent concepts for all humans); a belief that through using reason as a foundation to claims of authority, conflicts between truth, power, and knowledge can be overcome; an assumption that the 16 correct use of reason, in the form of science, is also the means for attaining all true knowledge; and finally, an assumption that language is a medium which represents the 'real' (Nicholson, 1990). I have chosen to reject the assumptions of modernism as they do not include the perspectives of women within the North American social context as valuable and relevant alternative expressions of reality. According to Gilligan (1982), these alternative expressions of women focus more on emotionality and the need for relationship enhancement procedures to develop effective and need-fulfilling relationships. The modernist emphasis on reason leading to behaviour, not emotional thinking, and the modernist de-emphasis on the emotional mind, I believe, makes this theoretical approach inappropriate for work with women who have been abused by their male partners. I have chosen, instead, to utilize a postmodernist approach which involves a critique of such modernist assumptions (Cheek, 2000). Postmodernism Postmodernist notions do not consist of a unified position or school of thought, yet consistent themes are found to emerge. In contrast to the modernist paradigms, the postmodernist perspective does not seek universal and essential truths, rather, it emphasizes that reality is plural and that there are multiple positions from which it is possible to view any aspect of reality (Cheek, 2000). Complexity is offered in the place of simplification, diversity instead of unity, difference over synthesis, indeterminacy instead of determinacy, and intertextual relations rather than causality. The emphasis of postmodernist thought on differences, diversity, and on the construction of various realities through social context, makes such an approach relevant 17 when working with women. In order to value the diverse perspectives of women, I believe that it is essential to reject modernist notions of a 'fixed' reality; a reality that within a North American social context emphasizes 'truth' through a male lens of dominance and power. A postmodernist approach is applicable when developing an art therapy group curriculum for women who have been abused by their male partners. This is so, as the expressions of abused women have limited worth in their relationships and in North American patriarchal society as a whole. A group based on postmodernism would value each woman's unique response to the similar social contexts of abuse and of a shared art therapy group. The use of art therapy in such a group context would facilitate each woman's unique expression by providing her with a variety of media with which to work. Postmodernist approaches such as these reflect feminist concerns, as feminism emphasizes women's distinct perspectives. Feminist Theory According to Kaschak ( 1992), feminist approaches aspire to make visible the hidden effects of gender in everyday life. Feminism, in general, is aimed at exposing masculinized meanings as ingrained social values that have damaging effects on people. In particular, feminists work with clients towards the development of alternative meanings and choices, based upon the lived experience of women and girls. Feminism is described as a means of providing women and girls with a respectful hearing of their diverse, yet similar, experiences (Kaschak, 1992). Yet, although there are common elements comprising feminist theory, there are also variations. Reuther (1993) identifies 18 three distinct forms of feminism: liberal feminism, socialist feminism, and radical feminism. Ruether (1993) identifies the liberal feminist agenda as one that originated through an examination of the denial of women into the traditional male public sphere. This form of feminism emphasizes equality in educational and professional spheres, increased rights for women in marriage, and control for women over their bodies. Liberal feminism also identifies the interconnections between women's work role in the home and the treatment of women on the job. The economic structure of industrial capitalism is emphasized as one of structural discrimination against women, and a fundamental transformation of the work structure both in the home and in the paid labor force is deemed necessary. Only socialist feminism, however, explores these contradictions and then provides a vision of what a new system that addresses these concerns might look like (Ruether, 1993). Socialist feminism originated in 1884 through the writings of Friedrich Engels. This form of feminism challenges the social ideology that defines women as weak and timid, and recognizes the strengths of women both at home and in the work force. Economic autonomy for all workers is promoted under socialist conditions, emphasizing the need for women to be independent wage earners. Women are viewed as needing economic equality in order to promote equal partnerships with men both on the job and in marriage and the home. Socialist feminism recognizes that women cannot be equals with men as long as they are solely responsible for domestic duties. This form of feminism, however, is similar to the liberalist belief that the male work role is the norm, and that women are liberated by being incorporated into the male public realm (Ruether, 1993). 19 These assumptions are questioned by the third and final form of feminism, radical feminism. Radical feminism emphasizes the need for women to have control over themselves and their bodies. This feminist approach emphasizes differences between the genders. Patriarchy is viewed as a means of subordinating women as sexual objects who are under the control of men. Partner abuse, rape, sexual harassment, pornography, and the ideologies and values that exist in North American culture are all viewed as ramifications of patriarchy. According to Ruether ( 1993), many people adopting a radical feminist position have incorporated the notion that women cannot be liberated from patriarchy until they are liberated from men. Within this framework, women can be seen as needing to have a community of women as their primary base. Ruether ( 1993) suggests that in radical feminism, the ideologies of both sexism and heterosexism must be questioned. Although each of these three forms of feminism offer unique and valid frameworks in which to work with women who have been abused, they are deemed limited in a postmodernist context. Each perspective values the concept of difference between the genders, or of male/female equality. According to Scott ( 1994 ), when equality and difference are paired in opposition, they offer an impossible choice. In a feminist context, or any context, the emphasis on the differences between males and females may obscure the differences among women and between women, while an emphasis on equality and the similarities of males and females, places women into a general 'human' identity, thereby losing the specificity of female diversity. 20 A postmodernist feminist approach, therefore, bridges the gap between women's distinctness from men in our culture, while at the same time placing equal value on each unique perspective expressed by individual women. I believe that an art therapy group curriculum for women who have been abused by their male partners, best fits in this theoretical framework. Group member's common experiences are recognized, yet a context is still provided in which women have an opportunity to develop their own meanings and perspectives using various media. I feel that such a format must take place in a non-judgmental and accepting atmosphere where women are unhindered in their umque expressiOns. 0 0 Rogerian Theory One such safe and supportive approach is identified in Rogerian Theory, or Person Centered Therapy (Raskin and Rogers, 1995). This type of therapy is based on the beliefs of Carl Rogers ( 1961 ). Rogers emphasized trust in the ability of individuals or groups to be motivated by a basic drive towards growth and health. This positive view of clients plays out on a practical level through the use of several concepts in therapist/client relations. Rogerian concepts include therapist congruence, or a consistency of therapist responses to clients in order to promote trust in the therapist/client relationship; unconditional positive regard, or the notion that therapists not let their values influence their responses to client realities; and empathy, or the idea that therapist responses to clients be with genuine interest in understanding their unique experiences (Raskin and Rogers, 1995; Rogers, 1961). 21 Rogers suggested that therapists who try to understand their clients while fully accepting them, create a sense of freedom, or liberation, for clients to explore all of their inner thoughts, feelings, and beliefs (Rogers, 1961 ). According to this theoretical perspective, growth and health can be fostered not only through verbal interactions between the client and therapist, but also through the facilitation of an environment fostering creativity (Rogers, 1961). Rogers defines the creative process as: " ... the emergence in action of a novel relational product, growing out of the uniqueness of the individual on the one hand, and the materials, events, people, or circumstances of his life on the other," (Rogers, 1961, p. 350). He suggests that creativity is necessary for individuals to adapt and survive, and that the process of creativity uses the same tendencies that are curative in psychotherapy, i.e. "man's tendency to actualize himself, to become his potentialities," (Rogers, 1961, p. 351). Rogers (1961) states that a creative environment can be promoted by adhering to the following criteria: accepting the individual's unconditional worth; providing a climate in which external evaluation is absent; understanding empathically; and finally permitting psychological freedom (Rogers, 1961). By psychological freedom, Rogers suggests that complete freedom of symbolic expression gives clients freedom to think, feel, and be whatever is most inward within themselves. A Rogerian approach works well in conjunction with postmodernism. Rogers' emphasis on unconditionally accepting the unique perspectives of each client is consistent with postmodernist notions that recognize the distinct realities, truth claims, and understandings of each individual. By emphasizing empathy, Rogers endorses the 22 notion of genuine interest in understanding these distinct perspectives. When therapist values are absent from therapist/client interactions, clients are seen as being free to express their own meanings in response to life experiences. Such a non-judgmental approach is not only consistent with postmodernism, it is also appropriate when working with female victims of partner abuse in an art therapy group context. As abused women are often unable to express themselves safely in their relationships, a non-judgmental context is much needed to allow freedom of expression for this population. A Rogerian approach not only emphasizes freedom of expression through therapist acceptance, but also through an environment fostering creativity. A non-evaluative art therapy group context, one emphasizing the process of art making and not the end-product, would provide women with such a creative environment. Such a non-evaluative context would work well with Malchiodi (1998) and Tomsons' (1997) depiction of art therapy as "art is therapy," as opposed to their notion of "art psychotherapy." Group members would see different women using different media in a non-evaluative environment fostering the expression of distinct personal meanings. Postmodernism, feminism, and Rogerian theory are all appropriate in the development and/or facilitation of such an art therapy group for female victims of partner abuse. Postmodernism endorses the acceptance of, and respect for, the distinct meanings and perspectives of each woman. Feminism and Rogerian theory both fit in a postmodernist approach. Feminism values the distinct responses of women to common socially oppressive contexts. Rogerian theory promotes a creative environment and the unconditional positive regard for each woman's unique perspective. Combined, these 23 three theories contributed to the development of questions in regards to the art therapy group curriculum. Project Questions In response to the prevalence of partner abuse against women in North America, and the numerous health implications associated with this population, I was wondering if I could develop a group curriculum to better meet such women's needs. I wanted this curriculum to be true to the notions and assumptions found within postmodernist, feminist, and Person Centered frameworks about women and their relationships with their partners. Specifically, I was wondering what abused women's unique meanings and perspectives would be within the context of a common non-judgmental art therapy group and in response to similar experiences of abuse and oppression in their relationships. Rationale My interest in developing a group curriculum for victims of partner abuse arose through my work with abused women. While working in this field I began to notice that many of my clients had strong emotions that needed to be expressed, yet they had no 'safe' outlets from which to do so. Consequently, these strong emotions were 'taken out' on their children, or simply not expressed at all. If unexpressed, these emotions were 'buried' inside the women, and these clients suffered from numerous health problems, many of which I have previously identified. Although my clients had endured similar experiences and exhibited themes in their responses to having no healthy outlets for emotional expression, I began to understand that each woman was distinct, and was able to express herself through a variety of means, if given the opportunity. It was with this in mind that I started to 24 research the various treatment options for women who have been abused by their male partners. My findings indicated that group treatments are appropriate for abused women, yet, although there are numerous mediums for expression, the empirical literature is limited to therapist-directed verbal articulation with this population. In this existing empirical literature the notion of creativity and art as therapy has not been considered with abused women in response to abusive situations, nor has there been recognition of the distinct and varying meanings for each woman in response to their experiences of abuse. Moreover, I have not found a curriculum based on the postmodernist feminist paradigm. It was with these existing gaps in the empirical literature in mind that I decided to develop a postmodernist, art therapy group curriculum for abused women. Such a group curriculum not only fills a gap in the literature by developing a social context for women where their unique perceptions can be valued and portrayed through various media, but it also provides practitioners with an additional option for working with this population. Finally, an art therapy group curriculum for female victims of partner abuse also provides a potential means of empirically evaluating women's experiences within such a group context. Summary Various treatment approaches have been developed in response to high rates of physical and non-physical partner abuse of women in North America, and to the physical and mental health problems associated with these victims. Although a range of treatment approaches work with couples, males, or females, group work for female victims appears to be the most common mode of treatment. All-female groups provide not only safety 25 from some of the problems associated with couples counselling, but they also address some of the health concerns that impact this population. Within the existing range of treatment approaches, however, the viable option of an art therapy group for female victims of partner abuse is not represented well in the literature. An art therapy group that is founded on the belief that "art as therapy," would be appropriate when working with female victims of partner abuse. Such an approach may promote empowerment in abused women, and aid in the reduction of debilitating living patterns affecting this population, yet it must be structured in a manner that is appropriate for women. In order to fill in this gap in the literature, and to provide practitioners and researchers with more resources, I have chosen to develop an art therapy group curriculum for female victims of partner abuse. I selected postmodernism as the theoretical foundation for the group curriculum, as it values the distinct perspectives of women. Within this postmodernist context, I chose to incorporate feminism into the curriculum in order to emphasize the distinctness of women as well as the importance of equality between the sexes. Finally, I chose to incorporate Person Centered therapy into the curriculum, as it is a non-judgmental and accepting theory that emphasizes a creative environment. 26 CHAPTER TWO Methods Group Members I designed the art therapy group curriculum for eight adult women who have been abused by their male partners (Yalom, 1995). The curriculum is to be used with groups of adults who have experienced abuse within marriages or partnerships. Youth ages 18 and younger have not been included in this category because youth bring developmental and ethical factors into a group relationship. A closed group structure will prevent new participants from entering the group once established (Yalom, 1995). The Facilitator Qualities The facilitator implementing this group curriculum must be female (Oakley, 1996). She should be familiar with postmodernist and feminist theories. She can familiarize herself with these theories by reading the theoretical framework section earlier in the introduction to this project, taking classes or training, as well as supplementing her knowledge by reading books and texts (see the reference list for ideas). The facilitator must also be an expert at working with Rogerian theory. Her expertise can come from training in Person Centered Therapy at educational institutes, such as those offered in British Columbia at the University of Victoria, the University of British Columbia, and the University of Northern British Columbia. The success of the art therapy group curriculum depends on the facilitator's ability to implement the group in a manner that adheres to the underlying principles of postmodernist, feminist and Rogerian theoretical models. These principles include: respect for equality between the sexes, diversity among women, value for the unique perspectives of each woman, and the 27 need for the facilitator to be open to the varying perspectives of the group participants. I believe that for these underlying principles to be successfully implemented using this curriculum, that the facilitator must only use Rogerian responses. For 'guideposts' in Rogerian approach I have provided recommendations and examples on the role of the facilitator as: being congruent, accepting with unconditional positive regard, and being empathic. I have included this information to aid facilitators in the practical facilitation of the curriculum. Congruence Congruence refers to genuineness or realness on the part of the facilitator. The facilitator is expected to be herself in the group and not put up a professional front or personal fa~ade. She is expected to be open to her feelings and attitudes. What this means is that there is congruence between what she is experiencing at a 'gut' level, what is present in her awareness, and what she is expressing to the client (Rogers, 1980). The facilitator is not expected to share all of her feelings all of the time; she is expected to share her persistent thoughts or feelings (Rogers, 1993). The facilitator may notice discomfort, for example, if the participants go against the group guidelines established during the first session. She may become aware that she feels uncomfortable with the manner in which one group member addresses another group member. In such an instance she may be congruent by voicing her discomfort to the group. The facilitator may choose to say something like: "I feel uncomfortable when you, Jane, call Lisa a 'twit' because I think that it goes against our agreed upon guideline that we established the first session stating 'no put-downs."' 28 Another example of congruence may be in a one-on-one interaction with a group member who is always arriving late for the group. The facilitator may notice that the late arrival of the participant disrupts the group process. She could choose to address this issue by speaking with the member and saying something like: "I am noticing that when you have been arriving late for group, that it is disruptive to the group process. Is there a way that you could come in without disrupting the group?" A final example of congruence could be if the facilitator becomes aware that the group is consistently running longer than the agreed upon two hour time frame and she is feeling tired. In this instance, the facilitator may choose to communicate her concerns by saying something like: "I can see that you are all getting a lot out of this discussion. I have noticed, though, that we are over time, and I am feeling really tired and would like to wrap this group up. Would you all be willing to move this discussion to a coffee shop, or do you have any other suggestions?" Such a statement by the facilitator is congruent with her thoughts and/or feelings, yet she must make sure that she expresses them in a manner that accepts the participants unconditionally. Acceptance Accepting individuals with unconditional positive regard means that the therapist is non-judgmental, positive, and expressing an acceptance towards the client's feelings (Rogers, 1980). The facilitator conveys the belief that each individual is precious no matter what words or behaviours are expressed by that person (Rogers, 1993). In an art therapy group, acceptance further extends to the members' art expressions. An example of a facilitator's acceptance could be seen if a group member got angry and threw her art materials at the wall. The facilitator could respond by saying . - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - ---o 0 0 29 something like: "I see that you are furious by the way you are throwing things at the wall." By acknowledging that the participant feels angry, the facilitator is accepting those feelings. In such an instance, the facilitator could spend several minutes reflecting the participant's feelings and accepting those feelings. When the woman appears calm, the facilitator could say: "Come on, let's clean this up together." By saying "let's," the facilitator is indicating that she is 'in this' with the client and so she is accepting of that client. Another example of unconditional positive regard would be if a group member was saying that she felt ashamed or guilty for lying to her partner. A dialogue between the facilitator and the woman could be: Woman: "I feel so guilty for lying to my husband." Facilitator: "I hear how terrible you feel for having told that lie." Woman: "Yeah, I feel horrible for telling it, but I just didn't feel I had any other choices." Facilitator: "You feel bad for lying, but it wasn't safe to tell the truth." Woman: "Uh huh, I didn't want to lie, but I just couldn't tell him the truth." In this instance, the facilitator has expressed unconditional positive regard by accepting the woman's feelings, as well as reflecting that it was unsafe to tell the truth. If the facilitator was to respond to a participant's artistic expression, however, she would indicate acceptance by providing an atmosphere in which there was no external evaluation. According to Rogers (1993), it is particularly important that the facilitator is nonjudgmental towards the participants' exploration of the different artistic materials. 30 Instead, it is more beneficial for members to experience an atmosphere where they can develop their own internal standards of evaluation. To avoid judging or evaluating the art, the facilitator must allow the participants to respond first to the art before then giving her own reaction (Rogers, 1993). Rogers (1993) suggests that the facilitator can own her own reaction to the art expressions by making first-person statements such as "When I look at that painting I feel safe" or "I experience that sculpture as sensual" or "I experience that collage as depressing." Such statements are deemed very different from making judgments such as "Your painting is excellent" or "What a great sculpture." By adhering to first-person statements instead of judgments, the facilitator accepts the expression and leaves room for the creator of the art to discriminate between the facilitator's reaction and her own internal evaluation of her art and her art process (Rogers, 1993). A facilitator can indicate her acceptance of participants' art and verbal expressions by using empathic listening. Empathic Listening Empathic listening means that the facilitator is able to listen and express accurately the feelings and personal meanings that are being experienced by the participants (Rogers, 1980). The facilitator can use paraphrasing, or rephrasing of what the participant has said; mirroring, or copying the postures, expressions, and/or words of the participant; and active listening to reflect her understanding of the participants' expressions. She must also have the genuine intention of understanding both the feelings and intellectual content of what the participants are expressing. To do so, she must understand that the group participants are their own best experts for determining the meaning for what they are trying to express. If the facilitator responds to the group 31 members in a respectful manner, but one that does not accurately reflect what the members are trying to express, then the group participants can correct her. They may say something like: "No, that is not exactly what I meant. What I was trying to say was ... " (Rogers, 1993). An example of empathic listening would be the facilitator's response to a group participant who is laughing and talking about how good she feels now that she is out of the relationship and can do all of the things she has been thinking about doing for so many years. The facilitator may reply: "It sounds like you are feeling really positive and free now that you can finally do all of the things you've been wanting to do for so long." Another example of empathic listening would be if a group member is speaking of how good it is that her spouse has finally left, but her voice is unusually flat and she appears tense. The facilitator could say: "I am hearing that you are glad that your spouse has left, but I am sensing that this is still a challenging time for you." A final example of empathic understanding could be a scenario where a group member is raising her voice, crying, and speaking about how her ex-partner has a new girlfriend. The facilitator could respond by saying: "It sounds like you are angry and hurt that your ex has a new girlfriend." As the role the facilitator is paramount in the successful implementation of the curriculum, she should first ask herself the following questions: Am I aware of my values? Do I accept freedom of choice? Does my language reflect this value? Is my language congruent with my beliefs? 32 Am I really listening to each participant's comments and responses with an open mind? Is all of my energy here in the moment with the participants, or am I already planning for the next component of the group, or trying to get participants to move on to the next component of the group? Am I bringing any of my judgments to the group? Do I have an agenda with my responses? Do I have preconceived notions of how this group should be and how participants should act? How can I let go of my judgments if I become aware that I have some while I am in the group context? Is my open mind to each participant's unique perspective in the group? If I have an idea of what I think a piece of art is expressing, am I going to be able to let that idea go and open my mind to the interpretation of the woman who has made the art? Am I able to let go of my idea of how the group should progress, and adapt to the unique dynamics of each group? Can I adapt to the group, if the group wants to select new media or spend more time on one portion of the group, and less on another? If I see that the group is struggling to engage with a specific media, or portion of the group, will I feel comfortable letting the group dynamics and suggestions shift the group? 33 The facilitator must use her knowledge of feminism and postmodernism, as well as her expertise at using Rogerian concepts, to help implement the group. She also must carefully question her values and actions if she is to be an effective facilitator and provide participants with a safe group context and lead them through the different components in each group session. Procedures Safety The facilitator must select a location that promotes safety from vulnerability to partners or ex-partners. Such a location might consist of a secured building, an entrance that is reasonably private, proximity to residences or businesses, phone access, close parking, and bright outdoor lights. The facilitator must be responsible for developing a safety back-up plan if a partner or ex-partner is threatening to any members of the group at the location in which the following curriculum is implemented (e.g. push a panic button). Once the facilitator has selected a safe location, it is her responsibility to establish safety in the group. Safety will be encouraged between participants by establishing group guidelines during the first group session. These guidelines can be determined by group members, however, it is essential that confidentiality be included. As previously mentioned, many abused women are at physical risk from their partners or ex-partners. A breach in confidentiality could result in a group member being seriously injured or killed by their partner. Once safety is considered, it is the responsibility of the facilitator to implement the curriculum. 34 Curriculum The curriculum is designed around eight sessions (Ponteri, 2001; Stanley & Miller, 1993; Yalom, 1995). Each session is structured around a two hour time frame consisting of thirty minutes for Check-In/Warm-Up with art materials, forty-five minutes for Art-Making, fifteen minutes for break, and finally forty minutes for Discussion/Closing (Wadeson, 2000). Check-In/Warm-Up A thirty minute Check-In/Warm-Up component is outlined at the beginning of each group in the curriculum so that participants will have an opportunity to get acquainted or reacquainted with the group environment and to 'play' with materials. First, the participants sit in a circle and briefly share how they are doing; they will share how their week went, or anything else they wish to express to the group. Secondly, members experiment together in a group using various art materials. Art-Making I have developed the forty-five minute Art-Making component of each group session using a non-directive, spontaneous artistic activity. Women attending groups that are facilitated using the curriculum will be free to engage in activities of their choice. During this component of the curriculum, the facilitator will verbally invite the participants to consider what the process of engaging in the art activity means to their lives. Women will be free to utilize the materials and the space however they wish; they can determine where to work, whether to work together or alone, and what media to use. As the women work with the materials, the facilitator can also work with the art materials. She will, however, be available to answer questions and address concerns from 35 specific group members. At the end of this Art-Making component, the facilitator will invite members to clean up the art materials before the break. Members may elect to spend a few minutes of the break finishing their art pieces and cleaning up. Discussion/Closing Following the break, the thirty minute Discussion/Closing component of each session is a time for participants to freely vocalize their personal perspectives, meanings, feelings, and/or anything else they may wish to share with the group. This component provides women with the opportunity to share and to witness other group members sharing. The facilitator is responsible for letting group members direct the themes and/or topics, as well as for bringing the group to a close. If this component of the curriculum, and the curriculum as a whole, is to be implemented effectively, the facilitator must first understand how I came to structure the curriculum in this manner. Additionally, she must understand the manner in which I intend the curriculum to be used. 36 CHAPTER THREE Art Therapy Group Curriculum This curriculum is to be used as a guide for facilitating art therapy groups for women who have experienced partner abuse. To develop this curriculum I have used literature on the nature of groups to determine the number of participants, lifespan, length, and format of the groups. However, I have used the theoretical basis of postmodernism as my main source and foundation for the structure of this curriculum, as I have not located any empirical literature using art therapy in a group context with this specific population of women. I created this curriculum by adhering to the underlying beliefs in postmodernism that there will be: diverse perspectives among group members and between groups; that group dynamics will consist of intertextual relations instead of a 'give-this-group-formatand-cause-that-participant-reaction' formula; and that complexity exists in each group, so the nature of each group is indeterminate. I believe that this curriculum will best adhere to these postmodernist concepts and be most useful to abused women if it is used as a framework, rather than a strict format. With this in mind, it is recommended that the person facilitating this curriculum remain flexible while still incorporating core components into each group (i.e. Check-In/ Warm-Up, Art-Making, Discussion/Closing); despite there being no pre-tested knowledge of the effect of using these components. I have included time in the curriculum for the group to Check-In and Warm-Up together in order to promote interaction, and reduce isolation, between group members. I have included time for ArtMaking in accordance with the belief that art is healing (Malchiodi, 1998). Finally, I have 37 scheduled time for Discussion and Closing to promote group interaction and support. Not only should the facilitator be flexible in implementing these components, but I, too, have introduced some variability in these during the First, Second, and Eighth Group Sessions. During the Check-In/Warm-Up of Session One, I replaced the Check-In circle with introductions. These introductions include introducing group members (Fischer & McGrane, 1997), the expectations of group members (Silverstone, 1993), group guidelines (Yalom, 1995), and information about the general structure of the group. I have provided participants with time to share their expectations, hereby providing them with an opportunity to express their unique expectations and perceptions of attending a group. This in turn, will aid the facilitator in gathering information about the needs and wants of the group members. Also, I have included an introduction for the participants on the structure of the group so that they will be aware of the curriculum. As there is more information during the introductory portion of the first session, I have reduced the length of the discussion and closing in this session, while still keeping the Warm-Up, as well as the Art-Making component the same length. I elected to maintain the length of the activities with the art-materials as I believe that women will benefit from making art (Malchiodi, 1998). Additionally, during the Warm-Ups in Group Session One and Two, I have included specific ideas that the facilitator can share with the group. This differs from the later group sessions, in which this curriculum does not outline specific Warm-Up suggestions. It is assumed that the women will become more familiar with the group environment in the latter sessions and, therefore, may be more comfortable at freely experimenting with the different materials as they wish. 38 Finally, I have modified Group Session Eight to include a closing activity (Johnson & Johnson, 2000) in the Discussion/Closing component of this final group. I included this closing activity to help terminate the group sessions. Practitioners can use this curriculum as a guide by not only being flexible with the components, but also by allowing variability in the group by being 'open' to the choices of the participants for the media, art activities, and discussion topics. The facilitator must provide participants with as many materials as she can. Materials can be selected based on the suggestions of group members and on the materials that the facilitator has available. If the facilitator has limited access to art materials, she may obtain free supplies from sources such as: recycling depots and facilities, printers, art shops and educational institutions that instruct art classes, the forest and other outdoor locations, as well as from her house. I have developed this curriculum in a manner where women are free to choose from a plethora of materials to express themselves and to develop their own personal meanings for the process of making art. The specific media are not important. Rather, the more media and the more diverse the media that are available, the more choices that women will have to select materials to use for artistic expression. Women are free to use the materials in any way that they wish. I have structured spontaneous Art-Making components into each session in the curriculum so that in addition to choosing media, the participants can also choose the art activity. Women will benefit by making art, despite the activity, as the process of engaging in art is beneficial unto itself, regardless of the end-product. I have also structured freedom for women to choose their activity as I do not want to claim to know what art activities are most 39 meaningful for group members, or to understand how specific activities will be perceived by the participants. Rather, I want to honor the women as experts at determining which activities are most appropriate for them to express and develop their own unique and distinct meanings. By pairing this Art-Making component with a verbal invitation to consider what the process of making art means for the participants in relation to their lives, my goal is to further facilitate a group context in which women feel safe to explore the art medium as an outlet for developing and expressing meanings in response to their life experiences. Group members may identify meanings for the process of making art in relation to their lives, or they may not. I do not have a preconceived notion of what participants will express or find meaningful. Rather, I am 'open' to the unique and distinct expressions that may arise from different groups and group members. In addition to structuring flexibility for women to choose media and artistic activities, I have also structured freedom for women to express themselves during the Discussion at the end of each group session. Women may elect to talk about their art, their feelings, their meanings for the process of making art in relation to their lives, or anything that they wish. Women may also wish to share the art that they have made or to remain silent. Although I intend this curriculum to be utilized in a flexible manner, each of the CheckIn/Warm-up, Art-Making, and Discussion/Closing components contains specific objectives followed by strategies geared to meeting these objectives. There are indicators that can be used by the facilitator to gain an idea if the strategies are effective at meeting the objectives. It is important to note here that the objectives stay consistent throughout the eight group sessions while the strategies progress throughout the curriculum. As groups may vary, the facilitator may wish to add or modify indicators in order to adjust to the specific nature of each group. 40 Art Therapy Curriculum in Eight Sessions Group Session One Check-In/Warm-Up (Estimated time: 40 minutes) Check-In Objectives 1) To create a positive, welcoming atmosphere (Welcome) 2) To develop Group Guidelines for keeping the group safe (Group Safety) 3) To share group members' goals for attending the group (Individual Goals) Check-In Objective 1- To create a positive, welcoming atmosphere (Welcome) Strategy for Objective 1 (Welcome) • Have the group sit in a circle and introduce yourself • Inform group members that each time the group meets that it begins with a circle. • Let the group know you will fully explain the group structure, after the Welcome • Welcome -As this is the first day, group introduction is a natural protocol. To keep it light, you can play a Name Game to act as an 'ice breaker' during this initial group meeting. Example: Name Game -State your name and ask the person to your right to say her name and your name -Next person says her name, the name of the person next to her, and your name -Continue process, going around circle until last participant names every one in the circle -At end, ask if any one wants to repeat all of the names 41 Group Session One Continued • Group Structure (Group Session One only). Inform participants that each session follows a similar format. -Tell participants that you will outline the group now, but will provide more details during each section. The general outline is as follows: -Three main sections: 1) Check-In/Warm-Up (approximately 30 minutes), 2) ArtMaking (approximately 45 minutes), and 3) Discussion/Closing (approximately 30 minutes) -There is a 15 minute break between the Art-Making section and the Discussion/Closing section. -Each section also follows a standard format. -The Check-In/Warm-Up contains two main parts, these being: 1) Check-In (Welcome/Group Safety/Individual Goals) 2) Warm-Up. -The Art-Making contains two main parts, these being: 1) Freedom 2) Meaning -The Discussion/Closing contains two main parts, these being: 1) Discussion 2) Closing • Ask group if they have any quick questions about the general outline of the sessions for clarification purposes Indicator of Meeting Objective 1 (Welcome) It is important during the initial sessions, when members are unfamiliar with the group environment, to pay careful attention to the following indicators: • Participants are paying attention (i.e. eye contact, asking questions) • Participants are beginning to interact with one another in a positive manner (i.e. smiling and laughter during the Name Game) 42 Group Session One Continued Check-In Objective 2 - To develop Group Guidelines (or keeping the group safe (Group Safety) Strategy for Objective 2 (Group Safety) Materials Required: • Large sheet of paper • Felt marker Strategy • Group safety exercise -Invite women to think of their deepest secret, but not to tell it to the group -Ask women why they haven't shared their secret with other people -Invite women to consider how the group could be safe, so that group members secrets aren't shared -Write down safety suggestions on a large piece of paper with a marker • Group Guideline brainstorm -Ask women what other Group Guidelines they want in the group -Write down Group Guideline suggestions on a large piece of paper with a marker -Ask group members if everyone feels comfortable with the Group Guidelines Indicator of Meeting Objective 2 (Group Safety) • The group has talked and developed Group Guidelines that they want in the group to keep it safe • Members agree on the Group Guidelines 43 Group Session One Continued Check-In Objective 3 - To share group members' goals (or attending group (Individual Goals) Strategies for Objective 3 (Individual Goals) Materials Required: • 8 large sheets of white paper • 8 felt markers Strategies • Share goals for attending the group -Explain that goals can be what members hope and/or dream of getting from the group sessions -Ask members why they believe these goals may help -Provide each group member with a sheet of paper and a felt marker and ask them to take a few moments to think about their goals and write them on the paper. -Ask group members to go in a circle and each share their goals with the group (people may also wish to pass). -Collect members' Goal Sheets and keep in safe location until next session Indicator of Meeting Objective 3 (Individual Goals) • Group members are considering, writing, and perhaps sharing what their goals are Warm-Up Objective 1) To introduce Warm-Up and get members 'loosened-up ' by interacting with the artmaterials Strategy for Objective 1 (Warm-Up) 44 Group Session One Continued Materials Required: • Large sheets of white paper, masking tape • Pencils (HB, 2HB, 4HB, 8HB), pencil crayons, crayons, felt pens, chalk, charcoal, conte, oil pastels Strategies • Group Warm-Up introduction Note: For the first and second Warm-Up sections, you will be giving the participants ideas for how to experiment with the media. Following this, the participants will experiment without the need for instruction -Begin by telling the participants that Warm-Up will have the same set-up each week, but that you will only be giving them ideas during the first couple of sessions for how to experiment with the materials, and in later sessions you won't Example: "Each week there will be tables covered with paper. In the centre will be a bunch of different materials. You can warm-up by playing with these materials on the large sheet of paper. For the first couple of sessions I will give you some ideas about how to work with these materials, but in the middle and later sessions, I won't. It will be up to you to come up with your own ideas for experimenting and playing with these materials." • Group Warm-Up activity -Put 3 or 4large tables together and cover with paper -In centre of the table put pens and pencils, etc. (as listed in the Materials Required) -Invite participants to work as quickly as they feel comfortable using the different materials to make straight lines, wavy lines, and squiggly lines. -Let participants know that they are free to experiment with using different pressures, different textures and colours, and using the pencils to shade in their lines Invite them to get messy and to play. 45 Group Session One Continued Example: "Okay, so some of the ideas that I can share with you about warm-up today are these: first of all, I would like to invite you to work as quickly as you feel comfortable using these different types of pencils and pens to make lines. You can make straight lines, wavy lines, squiggly lines, or whatever you wish. Try changing the pressures of your strokes. Feel free to fool around with textures and colours. You can also use the pencils to shade in areas between the lines. Don 't worry what the images look like ... it doesn 't have to be perfect. Please feel free to get messy and walk around ... and to share and borrow materials. You have around IO minutes to play and then we can move onto the art-making portion. " Indicators of Meeting Objective I (Warm-Up) • Participants are using the different materials in a variety of ways • Participants are moving around the table and each other • Participants appear to be relaxed and playing Art-Making (Group 1) (Estimated time: 45 minutes) Art-Making Objective 1) To establish Art-Making Protocol which incorporates Freedom and Meaning Strategies for Objective I (Freedom and Meaning) Materials Required: • As many materials as possible (see Appendix I for ideas) 46 Group Session One Continued Strategies • Introduce Art-Making section: -Let members know that Art-Making has been incorporated into the group, as the process of making art is deemed healing. Emphasize that the process is what is important, NOT the end-product -Let members know that this section incorporates Freedom and Meaning. -Describe Freedom: freedom to use materials in any way, to use the space however they wish, to be expressive (i.e. moving around, sharing materials, working together) while respecting Group Guidelines -Describe Meaning: members will be asked to consider what the process of making art means in relation to their lives • Inform participants that there will be an Art-Making Protocol for each group session -Art-Making Protocol outline: 1. members freely use materials/space while respecting Group Guidelines with no instruction (Freedom) 2. members consider meaning for the process of making art in relation to their lives while they are working with the materials (Meaning) -Ask group members if they have any questions in regards to the Art-Making Protocol • Art-Making activity -follow Art-Making Protocol Indicators of Meeting Objective 1 (Freedom and Meaning) • Group members are completely engaged in their Art-Making activities (i.e. they are using the materials in a variety of ways) • Group members appear comfortable within the group environment (i.e. they are moving around the room) • Participants talk about their meanings during the Discussion component 47 Group Session One Continued BREAK (15 MINUTES) Discussion/Closing (Group 1) (Estimated time: 20 minutes) Discussion Objectives 1) To introduce Discussion Protocol (Discussion) 2) To allow women the opportunity to debrief (Closing) Strategies for Objective 1 (Discussion) • Have group members get into a circle • Inform group members that, similar to the Welcome, we get back together in a sitting circle during the Discussion/Closing section. • As this is the first day, let members know what the Discussion Protocol will be for future groups -Discussion Protocol: 1. sitting circle 2. members are free to talk/share anything they wish within Group Guidelines (no direction from facilitator) Example: "Once we get into this circle each week, this discussion portion of every group will be a time for you to talk about anything that you wish. It is an opportunity for you to talk about how the group experience has been, or how you are feeling, what the process of making art meant to your lives, your art, or anything that you wish. You do not have to talk or share your art if you do not want to. This is basically a chance for us to get together as a group and talk before we bring this group to a close." 48 Group Session One Continued Indicator of Meeting Objective 1 (Discussion) • Participants are paying attention to the facilitator (i.e. eye contact, asking questions) Discussion Objective 2- To allow women the opportunity to debrie((Discussion) Strategy • As this is the first day, ask members to briefly share anything they wish now before Closing Indicators of Meeting Objective 2 (Discussion) • Group members are talking and expressing in a positive manner • Group members are sharing their art and Art-Making processes/experiences • Group members appear to be listening to each other (i.e. responding to each other's comments and expressions) • Group Guidelines are being followed Closing Objective 1) To introduce Closing Protocol Strategies for Objective 1 (Closing) • Inform participants that the group will be ending soon. • Introduce Closing Protocol -Closing Protocol: 1. closing round - members get into a sitting circle and each have the opportunity to share their closing thoughts/feelings (members may elect to pass if they wish) 2. group goodbye- the facilitator closes group on a positive note by thanking everyone for attending and says 'goodbye' to the members 49 Group Session One Continued Example: "Okay everyone, our time coming to a close. During each group session at this point we will go in a circle and each of us will have a chance to share final thoughts or feelings before we wrap the group up and say 'goodbye' to each other." • Follow Closing Protocol Indicators of Meeting Objective] (Closing) • Group members are talking about their closing thoughts/feelings about the group • Members are saying goodbyes to each other and leaving on a positive note 50 Group Session Two Check-In/Warm-Up (Estimated time: 30 minutes) Check-In Objectives 1) To Welcome and have Group Safety review to keep a positive and safe atmosphere 2) To allow participants to expand on goals (Individual Goals) 3) To introduce Check-In Protocol and run first sharing circle Check-In Objective I- Welcome and Group Safety review to keep a positive atmosphere Strategies for Objective I (Welcome/Group Safety) Materials Required: • Group Guidelines poster • Tape • A ball (i.e. volleyball, basketball) Strategies • Welcome group members back and invite them to sit in circle • Post Group Guidelines and review • Ask group members if they have further input to add to the Group Guidelines • Play another 'ice breaker' Name Game Example: Name Game -Sit on the floor (still in a circle) -State name and roll ball to someone else in the circle -The participant who receives the ball states your name and her name then rolls the ball to someone else 51 Group Session Two Continued -The person who receives the ball states the name of the person who passed her the ball, then her own name and rolls the ball to another person -Continue process until every one has received and passed the ball once or twice Indicators of Meeting Objective 1 (Welcome/Group Safety) • Participants have been paying attention to the Group Guidelines (i.e. reading the poster, listening to the review of the poster, asking questions) • Participants have made more Group Guidelines suggestions • Participants are interacting with each other in a positive manner (i.e. smiling and laughter during the N arne Game) Check-In Objective 2 - To allow participants to expand on goals (Individual Goals) Strategies for Objective 2 (Individual Goals) Materials Required: • Members' Goals Sheets • 8 felt markers Strategies • Hand members' Goal Sheets back to them and give them each a felt pen • Ask participants to spend a moment to look at their goals sheets and check-off any goals that have been accomplished and add or remove goals • Ask members if they would like to share any other goals for attending the group, or if they would like to expand on the goals they shared last week Indicator of Meeting Objective 2 (Individual Goals) • Participants are talking about their goals 52 Group Session Two Continued Check-In Objective 3-To introduce Check-In protocol and run first sharing circle (Group Safety, Individual Goals, Welcome) • Inform participants that there will be a Check-In Protocol used in each remaining sessiOn - Check-In Protocol outline: 1. Group Guidelines poster- placed in a visible area for participants (Group Safety) 2. reflection of goals - ask group members to take a moment to reflect on their goals and modify their Goal Sheets as necessary (Individual goals) 3. Sharing Circle- each member takes a turn briefly sharing in a circle about anything they wish to openly communicate with the group (Welcome) • Ask members to do Sharing Circle Example: "Okay, now that I have let you know what to expect in future Check-Ins, let's do the Sharing Circle. This is your time to get reconnected as a group before we move into the art portion. You can share a little bit about how you are doing today, how your week went, or anything else you feel you would like to share with the group. You can also 'pass' ifyou wish." Indicator of Meeting Objective 3 (Group Safety, Individual Goals, Welcome) • Participants are talking about themselves and/or their experiences • Participants are watching and appear to be actively listening to each other Warm-Up Objective 1) To introduce Warm-Up Protocol and get group members 'loosened-up' by experimenting with the materials Strategies for Objective 1 (Warm-Up) 53 Group Session Two Continued Materials Required: • Large sheets of white paper, newspaper, masking tape • Pencils (HB, 2HB, 4HB, 8HB), pencil crayons, crayons felt pens, chalk, charcoal, conte, oil pastels, acrylic paint, watercolour paint, Styrofoam egg-carton (to put paint in), brushes, water container, rags Strategies • Outline Warm-Up Protocol for remaining sessions -Warm-Up Protocol outline: 1. select media from the middle of the table 2. freely experiment with media on large sheet of paper • Warm-Up activity -Put 3 or 4large tables together and cover with newspaper (to prevent paint going through the paper and onto the table), then put a layer of white paper on top -Put the different media (i.e. pens, paints) in the middle of the table -Inform participants that you will be giving ideas for how to Warm-Up once more this week, but that starting next week you will just be providing members with materials and they can use the time to experiment as they please -Invite participants to work as quickly as they feel comfortable using the different materials to make straight lines, wavy lines, squiggly lines, and doodle. -Invite participants to coat a portion of the paper with water and try painting on the wet surface, using each brush to see what kinds of lines they can make, turning the brushes on their sides to make thin and thick lines, using crumpled newspaper to blot up wet paint, and using paint without any water at all. -Let participants know that they are free to experiment with different textures and colours and to get messy and play with all of the materials 54 Group Session Two Continued Example: "This week is similar to our Warm-Up last week, as I am going to give you a bunch of different suggestions for ways to warm-up. This is the last group that I will be doing this. Next week I hope that you will feel comfortable exploring with the different materials without being given instructions. Okay, once again I would like to invite you to work as quickly as you feel comfortable using several types of pencils and pens to make lines. You can make straight lines, wavy lines, squiggly lines, or you can doodle. It doesn't matter what these images look like, just fool around with them. This week I also brought some paints and a container of water: you can get the paper wet and then try painting on it, use each brush to see what kinds of lines they can make, turn the brushes on their sides to make thin and thick lines, use crumpled newspaper to blot up the wet paint, or use paint without any water at all. Once again, please feel free to get messy, walk around, share materials and borrow materials. " Indicators of Meeting Objective 1 (Warm-Up) • Group members are using the art materials in a variety of ways • Group members are moving around the room Art-Making (Group Session 2) (Estimated time: 45 minutes) Art-Making Objective 1) To create a safe environment in which participants are free engage in the process of making art and to develop their own meanings for this process in relation to their lives (Freedom and Meaning) Strategy for Objective 1 (Freedom and Meaning) Materials Required: • As many materials as possible (see Appendix I for ideas) Strategy • Follow Art-Making Protocol as outlined in Art-Making Group Session One page 46 55 Group Session Two Continued Indicators of Meeting Objective 1 (Freedom and Meaning) • Group members are engaged in their Art-Making activity (i.e. they are using the materials in a variety of ways) • Group members appear comfortable within the group environment (i.e. they are freely moving around the room and using the materials without hesitation) • Participants talk about their meanings during the Discussion component BREAK (15 MINUTES) Discussion/Closing (Group2) (Estimated time: 30 minutes) Discussion Objective 1) To provide group members with the opportunity to debrief and share Strategy for Objective 1 (Discussion) • Follow Discussion Protocol as outlined in Discussion/Closing Group Session One page 47 Indicators of Meeting Objective 1 (Discussion) • Group members are talking and expressing in a positive manner • Group members are sharing their art and Art-Making processes/experiences • Group members appear to be actively listening to each other (i.e. responding to each other's comments and expressions, nodding, eye contact) • Group Guidelines are being followed Closing Objective 1) To bring the group to a close in a safe and positive manner 56 Group Session Two Continued Strategy for Objective 1 (Closing) • Follow Closing Protocol as outlined in Discussion/Closing Group Session One pages 48-49 Indicators of Meeting Objective] (Closing) • Group members are talking about their closing thoughts/feelings about the group • Group members are saying their goodbye's to each other in a positive manner 57 Group Session Three to Six Check-In/Warm-Up (Estimated time: 30 minutes) Check-In Objective 1) To provide a positive and safe atmosphere for women to share with each other and get reacquainted with the group (Welcome, Group Safety, Individual Goals) Strategies for Objective 1 (Check-In: Welcome/Group Safety/Individual Goals) Materials Required: • Group Guidelines poster • Tape • Members' individual Goal Sheets • 8 felt markers Strategies • Follow Check-In Protocol as found in Check-In/Warm-Up Group Session Two page 52 Indicators of Meeting Objective 1 (Welcome/Group Safety/Individual Goals) • Participants are sharing in a positive manner (i.e. about feelings, goals) • Participants are listening to each other (i.e. eye contact, nodding heads) • Participants are responding to what each other are saying • Participants are saying each other' s names • Participants are following the Group Guidelines Warm-Up Objective 1) To help women 'loosen-up' with the materials and interact with one another 58 Group Session Three to Six Continued Strategy for Objective 1 (Warm-Up) Materials Required: • Large sheets of white paper, newspaper, tape • Materials from Appendix I and any other materials that are readily available Strategy • Follow Warm-Up Protocol found in Check-In/Warm-Up Group Session Two page 53 Indicators of Meeting Objective 1 (Warm-Up) • Women are using a variety of media in a variety of ways • Women are getting messy with the materials (i.e. there are lots of materials every where, there is overlap of one material on top of another) • Women are actively moving around Art-Making (Group Session 3-6) (Estimated time: 45 minutes) Art-Making Objective 1) To create a safe environment in which participants are free to engage in the process of making art and to develop their own meanings for this process in relation to their lives (Freedom and Meaning) Strategy for Objective 1 (Freedom and Meaning) Materials Required: • As many materials as possible (see Appendix I for ideas) Strategy • Follow Art-Making Protocol as outlined in Art-Making Group Session One page 46 59 Group Session Three to Six Continued Indicators of Meeting Objective 1 (Freedom and Meaning) • Group members are engaged in their Art-Making activity (i.e. using the materials in a variety of ways) • Group members appear comfortable within the group environment (i.e. they are freely moving around the room) • Participants talk about their meanings during the Discussion component BREAK (15 MINUTES) Discussion and Closing (Group Session 3-6) (Estimated time: 30 minutes) Discussion Objective 1) To provide an opportunity for group members to debrief and share Strategy for Objective 1 (Discussion) • Follow Discussion Protocol as outlined in Discussion/Closing Group Session One page 47 Indicators of Meeting Objective 1 (Discussion) • Group members are talking and expressing in a positive manner • Group members are sharing their art and Art-Making processes/experiences • Group members appear to be actively listening to each other (i.e. responding to each other's comments) • Group Guidelines are being followed Closing Objective 1) To bring the group to a close in a safe and positive manner 60 Group Session Three to Six Continued Strategy for Objective 1 (Closing) • Follow Closing Protocol as outlined in Discussion/Closing Group Session One pages 48-49 Indicators of Meeting Objective] (Closing) • Group members are talking about their closing thoughts/feelings about the group • Group members are saying goodbye to each other in a positive manner 61 Group Session Seven Check-In/Warm-Up (Estimated time: 30 minutes) Check-In Objective 1) To provide a positive and safe atmosphere for women to share with each other and get reacquainted with the group (Welcome, Group Safety, Individual Goals) Strategies for Objective 1 (Check-In: Welcome/Group Safety/Individual Goals) Materials Required: • Group Guidelines poster • Tape • Members' goal posters • 8 felt markers Strategies • Follow Check-In Protocol as outlined in Check-In/Warm-Up Group Session Two page 52 Indicators of Meeting Objective 1 (Check-In: Welcome/Group Safety/Individual Goals) • Participants are sharing (i.e. feelings, goals, about their weeks, etc.) • Participants are listening to each other (i.e. eye contact, nodding heads) • Participants are responding to what each other are saying • Participants are saying each other's names • Participants are following the Group Guidelines Warm-Up Objective 1) To help women 'loosen-up' with the materials and interact with each other 62 Group Session Seven Continued Strategies for Objective 1 (Warm-Up) Materials Required: • Large sheets of white paper, newspaper, tape • Materials from Appendix I and other materials if possible Strategies • Follow Warm-Up Protocol as outlined in Check-In/Warm-Up Group Session Two page 53 Indicators of Meeting Objective 1 (Warm-Up) • Women are using different and new materials in a variety of ways • Women are getting messy with the materials (i.e. there are lots of materials every where, there is overlap of one material on to of another) • Women are moving around • Women are interacting with each other Art-Making (Group Session 7) (Estimated time: 45 minutes) Art-Making Objective 1) To create a safe environment in which participants are free engage in the process of making art and to develop their own meanings for this process in relation to their lives (Freedom and Meaning) Strategies for Objective 1 (Freedom and Meaning) Materials • As many materials as possible (see Appendix I for ideas) Strategies • Follow Art-Making Protocol as outlined in Art-Making Group Session One page 46 63 Group Session Seven Continued Indicators of Meeting Objective 1(Freedom and Meaning) • Group members are engaged in their Art-Making activities (i.e. they are using the materials in a variety of ways) • Group members appear comfortable within the group environment (i.e. they are freely moving around the room) • Participants talk about their meanings during the Discussion component BREAK (IS MINUTES) Discussion and Closing (Group 7) (Estimated time: 30 minutes) Discussion Objective 1) To provide group members with the opportunity to debrief and share Strategy for Objective 1 (Discussion) • Follow Discussion Protocol as outlined in Discussion/Closing Group Session One page 47 -As this is the second to last group session, invite women to feel free to share anything they wish in regards to approaching the end of the group Indicators of Meeting Objective 1 (Discussion) • Group members are talking and expressing in an open manner • Group members are sharing their art and Art-Making processes/experiences • Group members appear to be listening to each other (i.e. responding to each other's comments and expressions) • Group Guidelines are being followed • Group members are talking about the ending of the group 64 Group Session Seven Continued Closing Objective 1) To bring the group to a close in a safe and positive manner Strategy for Objective 1 (Closing) • Follow Closing Protocol as outlined in Discussion/Closing Group Session One pages 48-49 -As this is the second to last group session, invite women to share any thoughts/feelings about approaching the end of the group sessions Indicators of Meeting Objective] (Closing) • Group members are sharing their closing thoughts/feelings about the group • Group members are talking about their thoughts/feelings in regards to the approaching termination of the group sessions • Group members are saying goodbye to each other in a positive manner 65 Group Session Eight Check-In and Warm-Up (Estimated time: 30 minutes) Check-In Objective 1) To provide a positive and safe atmosphere for women to share with each other, get reacquainted with the group, and start to and to start to 'wind' the group down (Welcome, Group Safety, Individual Goals) Strategies for Objective 1 (Check-In: Welcome/Group Safety/Individual Goals) Materials Required: • Group Guidelines poster • Tape • Members' individual Goals Sheets • 8 felt markers Strategies • Welcome group members back for the final week • Follow Check-In Protocol as in Check-In/Warm-Up Group Session Two page 52 -As this is the final week, during Indi vidual Goals ask women to reflect if they got their goals/wants/dreams met during the group, and to share these reflections Indicators of Meeting Objective 1 It is important during the final session to attend to following indicators: • Participants are sharing (i.e. goals, feelings, thoughts about group ending) • Participants are listening to each other (i.e. eye contact, nodding heads) • Participants are responding to what each other are saying • Participants are following the Group Guidelines • Participants are talking about the end of the group 66 Group Session Eight Continued Warm-Up Objective 1) To help women 'loosen-up' with the materials and interact with each other (Warm-Up) Strategies for Objective 1 (Warm-Up) Materials Required: • Large sheets of white paper, newspaper, tape • Materials from Appendix I and other materials if possible Strategies • Warm-Up Protocol as outlined in Check-In/Warm-Up Group Session Two page 53 -Put 3 or 4large tables together and cover with 2 layers of paper -In centre of table put a range of available materials (participants can select materials to put on the table as well) -Invite participants to experiment and play with the materials however they wish. Remind women that this is their last opportunity to play with the materials. Indicators of Meeting Objective 1 (Warm-Up) • Women are using different and new materials in a variety of ways • Women are getting messy with the materials (i.e. there are lots of materials every where, there is overlap of one material on to of another) • Women are moving around • Women are interacting with each other 67 Art-Making (Group Session 8) (Estimated time: 45 minutes) Art-Making Objective 1) To create a safe environment in which participants are free engage in the process of making art and to develop their own meanings for this process in relation to their lives (Freedom and Meaning) Strategies for Objective 1 (Freedom and Meaning) Materials Required: • As many materials as possible (see Appendix I for ideas) Strategies • Follow Art-Making Protocol as outlined in Art-Making Group Session One page 46 Indicators of Meeting Objective 1 (Freedom and Meaning) • Group members are completely engaged in their Art-Making activities (i.e. they are using the materials in a variety of ways) • Group members appear comfortable within the group environment (i.e. they are freely moving around the room) • Participants talk about their meanings during the Discussion component BREAK (15 MINUTES) Discussion and Closing (Group Session 8) (Estimated time: 30 minutes) Discussion Objective 1) To create a safe environment in which participants are free engage in the process of making art and to develop their own meanings for this process in relation to their lives as well as to 'wind-down' group (Freedom and Meaning) 68 Group Session Eight Continued Strategy for Objective 1 (Discussion) • Follow Discussion Protocol as outlined in Discussion/Closing Group Session One page 47 -Invite women to share anything that they wish in regards to the ending of the group (i.e. what they have gained, how they feel about the overall group sessions, how they feel about the group ending) Indicators of Meeting Objective 1 (Discussion) • Group members appear to be comfortable sharing (relaxed, speaking without hesitation) • Group members are responding to each other's topics (nodding heads, giving suggestions) • Group members are talking about the ending of the group • Group Guidelines are being followed Closing Objective 1) To bring closure to the group sessions Strategies for Objective 1 (Closing) • Closing activity -As this is the final group session, it is appropriate include an activity to help bring closure to the group Example: Magic gift closing activity -Ask group members to stand up and get close together in a circle -Invite participants to imagine they have magical powers that allow them to give anything they wish to another member -Ask group members to take turns and extend their hands towards the person on their right and give them an imaginary parting gift 69 Group Session Eight Continued Example: "As this is our last group, I felt like it may be nice to do a closing activity. Lets all stand in a close circle. Each of you to imagine that you have magical powers to be able to give anything that you wanted to another person. Now lets each think of a gift that we want to give to the person standing to our right, and then we'll go in a circle and give that gift." • Final goodbyes -Invite members for a goodbye group hug Indicator(s) of Meeting Obj ective 1 (Closing) • Group members are saying goodbye to other members and to you in a positive manner • Group members are arranging other ways to meet each other • Group members are leaving 70 CHAPTER FOUR Discussion I went through many phases as I developed this art therapy group curriculum for female victims of partner abuse. I started with an initial vision of what I wanted to do and then embarked on a journey to select the theories I wished to utilize. I shifted away from my initial vision and developed my current vision of the curriculum. Finally, I ran a 'trial-run' of one group session in the curriculum, and I made appropriate modifications. My Initial Vision of the Project When I began this project, my initial vision was to develop an art therapy group curriculum for women who had been abused by their male partners. In my previous work as a counsellor, I came to understand that many of my female clients who were in abusive relationships were unable to safely express their emotions. Consequently, their emotions were repressed or came out in unhealthy ways, such as clients yelling at their children. I decided to combine my practical knowledge that I had acquired by working as a counsellor with the information that I found in the literature about the physical and mental health problems associated with female victims of partner abuse. I came to believe that one of the variables contributing to abused women's poor health may be lack of healthy outlets for emotional expression. Therefore, I felt drawn to develop a treatment option for abused women. I selected art therapy, as I believe that non-verbal expression may be perceived as a safe and creative outlet by women who had grown accustomed to silencing their emotions. When I examined art therapy in the literature, I found that not only is art a viable way to express feelings (Rogers, 1993; Wadeson, 2000), but it is also appropriate for abused women as it 71 promotes a sense of freedom and empowerment in individuals (Tomson, 1997; DeChant, 1996). I chose to incorporate art therapy into a group format in response to my observations while counselling abused women. I noticed that many of my clients who had been in abusive relationships were isolated, or had limited or no support from their families and friends. I deemed a group format to be a means for abused women to gain a support network, as it would provide them with a context where they could get together on a regular basis with other women who had endured similar experiences. The literature on groups also supported my hypothesis on the benefits of groups (Harris, 1985). To my surprise, however, I was unable to locate any studies that incorporated art therapy into groups for women who had endured partner abuse. I decided to develop an art therapy group curriculum for victims of partner abuse in response to the gap in art therapy literature with this population. I felt that a curriculum would be beneficial not only to practitioners who were considering using art therapy for groups of abused women, but also to researchers requiring a guide in this uncharted territory. Once I had conceived of my initial vision to develop an art therapy group curriculum, I then started to formulate how to structure the curriculum. Initially, I planned to structure the group in a psycho-educational manner. I selected a psycho-educational format as this was the structure I had used in my group work with abused women. Additionally, most practitioners running groups with abused women were using a psycho-educational format. However, my approach shifted as I became clear on the theories that I would use to undergird my curriculum. My Journey Selecting Theories I built the curriculum on theories, as I did not have a base of empirical literature to refer to in regards to structuring art therapy groups for victims of partner abuse. I carefully 72 considered my core beliefs about the world, about women in our society, and about the role of counsellors, in order to determine which theoretical models I wished to utilize. My core belief about the world is that there is no 'right' or 'wrong' perspective or action. What feels ' right' for me may feel very 'wrong' for someone else. Additionally, I believe that there are many 'truths' and realities for different people; my meaning for a life event or what I deem to be 'true' about my experiences may differ substantially from the meaning that another person attributes to a similar life event or experience. I have found the theoretical model of postmodernism to 'fit' my core beliefs about the world, as this model is based on the premise of many different 'truths,' perspectives, and realities. Once I became clear about this link between my beliefs and postmodernism, I then examined my beliefs about women in our society. I believe there is an overall power imbalance between men and women in our patriarchal society. I believe that male violence and abuse against women is just one way in which this disparity is evident. Although I am aware that power imbalances and violence exist between men and men, and women and women, I believe that there is an underlying social value of male superiority in North American society. My core belief about women, however, is that they are equal to men, yet inherently different. I have found feminism consistent with my beliefs, as this theory consists of a critique of patriarchy. Additionally, feminism is also comprised of notions of equality between the sexes, as well as of distinctness between the sexes. Although feminism 'fits' well with my beliefs about women in society, when I started to examine my core beliefs about the role of counsellors, I soon discovered that women faced further vulnerability to power imbalances. 73 I reflected on my work as a counsellor to help me determine my core beliefs about counselling. I recalled many instances where I felt that clients were looking to me for advice as an authority figure. If a woman is looking to her counsellor as an authority figure, or if a counsellor believes that he or she is an authority over his or her clients, then there is a power imbalance. I believe that this imbalance is common, and that it is the responsibility of the counsellor to keep the focus of the counselling sessions on the wishes and beliefs of the clients. My core beliefs about the role of counsellors are that they must be 'open' to each client's unique and distinct perspective. I feel that it is important that counsellors not be judgmental or have an agenda with their clients. Rather, counsellors must value clients no matter where they are coming from and keep the counselling sessions 'open' to the direction that the clients wish to take. I found Rogerian theory to be consistent with my core beliefs about counsellors, as this theoretical approach is used by counsellors to interact with clients in a non-judgmental and accepting manner. My Shift Away from My Initial Vision I started to consider how to construct the group, once I determined that I would use postmodernist, feminist, and Rogerian theories as the theoretical foundation from which to develop the curriculum. First, I worked to select appropriate information to include in the groups, then I worked to select appropriate media and art activities. I found that my initial intention of including a psycho-educational component into the curriculum shifted substantially as I worked to keep the group structure consistent with my underlying theoretical assumptions. I was trying to select information that I thought abused women 'should' know, yet I wanted to use a postmodernist approach that valued the distinct 'truths' of each woman; if each woman had her own unique perspective and 'truth' about her 74 life experiences and her experiences of abuse, how did I know that the information that I selected would be 'true' for the women attending the group curriculum? It was at this point that I realized that the psycho-educational approach was substantially different from my beliefs. Therefore, I decided to reject the psycho-educational approach in the curriculum. I became aware of the significance of this project, not just as a viable treatment option for abused women, but as a viable treatment option utilizing an entirely different theoretical approach with this population; postmodernism. My new understanding of the significance of introducing a postmodernist theoretical foundation into the curriculum shifted my approach with the media and art activities. I started by experimenting with various media such as: felts, pencil crayons, pencils, oil pastels, acrylic paints, watercolour paints, and clay. My intention with this experimentation was to notice the extensions and limitations of these materials. I also attempted to 'categorize' each material with a matching emotion. Clay, for example, appeared to lend itself to anger as I could pound it and throw it. Once I was done experimenting with the materials and 'categorizing' them, I was then going to use these media in specific activities that I believed would help women address some of the problems commonly found in abused women (i.e. poor body health, depression, low self-esteem). However, I felt this approach was inconsistent with my beliefs because these were my personal perceptions of working with the media. I found the same challenges of trying to determine 'appropriate' media and activities for abused women that I found in trying to select 'appropriate' information to include in the curriculum. How did I know that an activity with clay, for example, would indeed facilitate an expression of anger in the participants? My approach of trying to select 'appropriate' media and activities for group participants went against my core belief that different people will have 75 unique and diverse perspectives for similar events. Therefore, I determined to develop the curriculum in a manner allowing participants as many choices and as much freedom as possible. My Current Vision of the Curriculum In the final curriculum that I have developed, I have broken each group session down into three main components: Check-In/Warm-Up, Art-Making, and Discussion/Closing. I decided to start each group session with a Check- In circle so that participants will have an opportunity to sit in a circle and share how they are doing. I believe that this initial verbal sharing will promote a sense of connection between group members and provide them with the opportunity to get reacquainted with the group environment and with each other. I hope that this group interaction will help women to feel safe to build support networks with each other. As women interact with each other, they will have more opportunities to make connections with other group members. In order to make this verbal sharing safe, however, I have tried to allow the women to be their own experts at determining the topics or themes of their sharing. I elected to invite participants to share that which they felt like sharing, and to feel free not to share as well. I have worked to carry over this interaction between group members as well as the aspect of choice into the second part of the Check-In/Warm-Up component: the Warm-Up activity. I have elected to include a time for women to Warm-Up and experiment with different art materials together as a group. I hope that this time will provide women with a chance to 'loosen-up' and ' play' with these materials as well as to continue interacting with each other. This experimentation time may be a rare opportunity for women to 'play' and temporarily 'let go' of some of the stresses they have, as many participants may have safety concerns, work 76 stress, and/or thoughts about their children. I have decided to invite participants to experiment and get 'messy' with materials of their choice, in order to promote a sense of freedom in the group. I also elected to have members experiment in a common area, as I hope to promote further interaction among group members. I hope that further interaction among women helps them to feel free during the Art-Making component to continue interacting with each other if they wish. As previously mentioned, I want to allow women to be the experts at determining which art activities are most appropriate for them to express that which they wish to express. Therefore, I have structured the Art-Making component in a non-directive manner in which participants are free to use the materials of their choice to spontaneously make art. I have elected to invite participants to use the available media and space however they wish during this component. I hope that they will feel free to make the art that they want, to move around the space, to interact with each other, to work together or alone, and to share and borrow materials. I have also elected to emphasize to the participants the significance of the process of making art, and not the end-product. I hope that this emphasis on the process will help to reduce any worries or concerns that women may have about making a 'pretty' art piece, and thus further a sense of freedom. I have also tried to connect this art process with women's life experiences. I have tried to structure the curriculum in a manner that provides women with a safe environment to freely develop their own meanings for their life experiences. I have elected to include an invitation for women to consider what the process of making art means in relation to their lives during this Art-Making component. My hope is that women will be able to use this process as a metaphor to help them develop their own meanings for their life experiences. 77 I have avoided telling women to consider specific life experiences, as I want them to be free to select the experiences that they feel are most important to them. I have worked to carry this aspect of freedom over into the last component of the curriculum: the Discussion/Closing. After women are finished making art, I have structured a group Discussion into the curriculum. I hope that this Discussion is an opportunity for women to freely debrief about the group experience, and to talk about things that came up for them. I also hope that women will feel free to share any meanings that they have for the process of making art in relation to their life experiences. I do not want to direct the themes or topics of the discussion. Rather, I want to allow women to communicate what they wish. I have decided to invite women to share anything they want; they can talk about the group experience, what the process of making art means to their lives, their art pieces, how they feel about their art, and/or anything at all. I hope that by being 'open' to the direction of the participants that they will be free to be the experts at determining what they most want to share. I have also structured the Closing in a manner that allows this freedom. I have included a final Closing section of the Discussion/Closing component into the curriculum to provide women with the opportunity share any final thoughts or feelings before leaving the group. I have elected to invite participants to go in a circle to freely share any final expressions that they wish before the group ends. I hope that by allowing women to interact during the final component of the curriculum, that members will have further support from each other before then going back to their every day lives. Once I structured the curriculum and the group components to provide participants with as much choice and freedom as possible, I then decided to do a 'trial run' of the group to see what it is like to facilitate groups structured in this manner. 78 My Trial-Run I ran the trial-run with a group of my peers who volunteered to find out what my curriculum was all about. This was a 'typical' two hour session using the curriculum (such as Group Session Three). I did not go through an ethics committee; therefore, I cannot report on the responses of the participants. Additionally, my facilitation of this group did not give me any understanding of how effective the curriculum will be with a group of abused women over a series of eight weeks. Rather, I gained a sense of how the curriculum 'flows' when used with a group of people. I discovered two main ideas on how to modify the curriculum: group WarmUp, and more verbal invitations to be free during the Art-Making activity. I started the Warm-Up activity with my peers by inviting them to experiment and play with materials of their choice. As the Warm-Up progressed, I began to feel that I could emphasize the support aspect of the group more. I had invited group members to engage in Warm-Up activities, but I had not invited them to interact with each other or to work together. I began to question my intention for developing a group treatment option for victims of partner abuse in the first place. My initial vision was to develop a context in which women could interact with each other and have the opportunity to create a support network with other women who had endured similar experiences of abuse. I started to think about the different ways in which I could encourage group interaction during the Warm-Up time. I decided to incorporate an activity into Warm-Up in which women could interact with each other, yet still remain free to explore the media however they wanted. This activity involves the facilitator putting several tables together, covering them with paper, and placing many different types of materials in the middle of the table. The facilitator then invites participants to select the materials of their choice and play and experiment with these materials. To promote interaction, 79 she can let women know that they are free to move around, borrow materials, and share with each other. Women still have the choice of the materials they wish to use and what they wish to do, yet they are interacting with each other. I did not notice any other modifications that I wanted to make to the Warm-Up, but I did feel that there could be some shifts to the Art-Making component. I started the Art-Making portion of the group by inviting participants to freely use the materials in any manner that they wished. I stressed the process of making art, not the end-product. During this component of the group, I started to get the sense that I could further promote freedom. I considered the realm of freedom in the context of the Art-Making component. I determined that freedom could involve the freedom to move around, to work any where in the room, to ask questions, to share materials, to work together, to interact, to talk or not to talk, to get a drink of water, and to use the washroom, among other things. I decided to try to promote a broader sense of freedom by increasing the verbal invitation at the beginning of this component to include a wider range of examples of how women could be free. Not only do I hope to increase group interaction in the Warm-Up and to promote a greater sense of freedom in the Art-Making component, but I have many hopes in regards to this project as a whole. Conclusion I hope that this project will have a positive impact on the lives of women who have been abused, that it will be used in an appropriate manner by practitioners, and that it will lead to future research in regards to partner abuse against women. I hope that by introducing art into a group curriculum for abused women, that women will have the opportunity to participate in groups that are facilitated using this curriculum. I would like this project to be utilized by practitioners so that women have more treatment 80 options; more choices. I hope that women attending such groups will have the opportunity to express things that they have not felt safe to express elsewhere. I would like women to feel safe enough to express their own unique 'truths,' perspectives, and meanings about their experiences of abuse. Finally, I hope that women attending such groups will start to heal from the deep wounds that affect many abused women's bodies and minds, as art is a safe outlet for expressing emotions which have been repressed or 'stuffed.' Practitioners must be willing to use the curriculum in order for abused women to have the opportunity to attend groups developed in accordance with this project. I would like to see practitioners and professionals who work with abused women use the curriculum as a guide. I hope that they will not strictly follow the curriculum's format, but will come to understand that it is the underlying theoretical framework that is most valuable. I would like to see practitioners providing women with choices and allowing them to develop their own meanings for their experiences. Additionally, I hope that practitioners will consider allowing their clients to develop their own meanings as they engage in the process of making art. I hope that art becomes increasingly recognized by counsellors as a viable language of expression and agent of change. I do not only wish to see practitioners incorporating the underlying theoretical framework of the curriculum in their work with clients, but I also hope that researchers will expand on this project. I would like researchers to consider using a postmodernist approach in their studies with abused women. I hope to see researchers exploring what women choose to say and to express about their experiences of abuse. I would like to see this project used as a research study. Finally, I hope that future studies will stem from this project exploring art 81 therapy in group contexts with victims of partner abuse. I would also like to see such research include youth partnerships and same-sex partnerships. In conclusion, I determined an art therapy group curriculum for female victims of partner abuse to be a valuable tool for practitioners and victims of abuse. Not only does the curriculum provide practitioners with a resource that fills in a gap in the literature, but if implemented, the curriculum also provides abused women with a non-verbal means of expression and a support network. I hope that the things that I learned while developing this curriculum will benefit others. I learned that to be 'open' to the diverse 'truths,' perspectives, and meanings of women who have been abused, I must allow them choices and freedom. Women must be free to determine the themes or topics most relevant to them. They must not be told what their meanings of abuse are. Rather, women must be given the opportunity to develop their own meanings for their life experiences. Finally, women must be free to express these meanings, and anything they wish, not only verbally, but also with a variety of media and through art activities of their choice. I hope that practitioners reading this project will benefit by reevaluating their approaches with clients. I hope that abused women will benefit by having the opportunity to participate in treatment approaches with increased freedom to be their own experts, the opportunity to develop their own meanings, and more choices for expression. 82 References Anderson, F. E. ( 1995). Catharsis and empowerment through group claywork with incest survivors. Th e Arts in Psychotherapy, 22(5), 413-427. Babcock, J. C. (1999) . The relationship between treatment, incarceration, and recidivism of battering: A program evaluation of Seattle's coordinated community response to domestic violence. 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New York, NY: Basic Books. 88 Appendix I: Art Materials Pencils Pencil crayons Crayons Felt pens Pens Conte Charcoal Ink Oil pastels Chalk pastels Tempra paint Oil paint W atercolour paint Acrylic paint Clay Plastecine Newspaper Newsprint White paper Crepe paper Tissue paper Wrapping paper Coloured paper Watercolour paper Old paper bags Cardboard Boxes Toilet paper rolls Cardboard egg cartons Styrofoam egg cartons Old Styrofoam packaging Styrofoam bubbles Plastic packaging Bubble wrap Recycled plastic bottles Old shampoo and conditioner containers Old yogurt containers Various recycled containers Jars 89 Wire Thread Fishing wire Dental floss String Rope Twine Scissors Pliers Hammers Wire cutters Sewing needles Pins Safety pins Hair pins Screws Nails Masking tape Duct tape Packing tape Scotch tape Glue sticks White glue Rubber cement Flour and water (for making glue) Flour and water and salt (for making play dough) Lentils (tactile) Beans (tactile) Macaroni Various pasta Rice Various grains Beets (for dye) Tumeric (for dye) Food colouring Clothes dye Fabric Stuffing Old pillows Old blankets 90 Nylons Old clothes Old shoes Shoe laces Noise makers Sparkles Stars Glitter Christmas decorations Buttons Wax Feathers Leaves Shells Branches Logs Flowers Grass Seeds Cotton Various plants Cutlery Dishes Pots and pans Wood Old metal Found objects