Art Making as a Component and Facilitator of Resiliency With Homeless Youth

Prescott, Margaret V.; Sekendur, Banu; Bailey, Bryce; Hoshino, Janice

doi:10.1080/07421656.2008.10129549

Cited by 33 publications

(14 citation statements)

References 9 publications

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“…This is interesting, as artwork of trauma survivors noted in the United States' literature is often described as high in emotional content and personal expression of psychological experience of people (i.e., Bardot, 2008;Coholic, 2011;Prescott et al, 2008). These differences might be related to differences in levels of individuation and more collective values in Chile.…”

Section: Discussionmentioning

confidence: 99%

“…Bardot (2008) found that art therapy can not only assist in processing loss, but can also transform feelings of grief to promote resilience and strength. In working with homeless adolescents, Prescott et al (2008) found art making to be an important process in fostering wellbeing, despite of adversity. Utilizing arts-based mindfulness interventions, Coholic (2011) found that art has the potential to foster self-awareness, which in turn may assist youth in building aspects of resilience.…”

Section: Review Of Literaturementioning

confidence: 99%

“…An example of these are the adobe slabs that were remnants of fallen houses, which one temporarily housed community utilized to make wall adornments to sell (Figure 2). These artistic responses are juxtaposed with research coming from the United States and Europe (e.g., Bardot, 2008;Coholic, 2011;Prescott et al, 2008), depicting art used predominantly for personal expression of feelings, processing traumatic events or communicating one's experience. Women played a fundamental role in establishing change and supporting their communities after the earthquake.…”

Section: Community and The Self: Healing Collaboratively From Traumamentioning

confidence: 99%

“…The focus of this study was to explore how everyday creative thinking (as conceptualized by Richards, 2007, and by Goff & Torrance, 2002), creative production (Prescott, Sekendur, Bailey & Hoshino, 2008), and intuitive experiences of flow (Csikszentmihalyi, 1996) might have been experienced by survivors of a natural disaster, specifically the major 2010 earthquake in Talca, Chile. This study was a replication of a previous similar exploration in New Orleans after hurricane Katrina, where a connection between resilience and creativity was found (Metzl, 2007(Metzl, , 2009).…”

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confidence: 99%

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Creative Soups for the Soul: Stories of Community Recovery in Talca, Chile, After the 2010 Earthquake

Bender¹,

Metzl²,

Selman³

et al. 2015

Psykhe (Santiago)

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This study, conducted in Talca, Chile, a year and a half after a massive natural disaster, focused on creative thinking and art production as manifestations of resilience. Purposive sampling was used to recruit participants through community leaders and programs. Ten survivors whose houses were damaged or destroyed during the 2010 earthquake were willing to participate in semi-structured interviews that included verbal narratives and an art response. Systematic analysis illuminated conscious and latent psychological content. Three overarching themes were identified as central to survivors' recovery process and were then contrasted with data from New Orleans after hurricane Katrina, exploring universality and contextual factors in post disasters' creativity and resilience. Specifically, in Talca, the creation of craft for sale, instead of art making for emotional expression in New Orleans, was observed; idealism and future-oriented thinking were heightened in Talca, while humor and spirituality seemed more pronounced in New Orleans; and connections to natural surroundings in Talca were juxtaposed with New Orleans' residents' strong neighborhood affiliations and cultural festivities.Keywords: resilience, creativity, disaster, Chile, New Orleans Este estudio, desarrollado en Talca, Chile, un año y medio después de un desastre natural masivo, se centró en el pensamiento creativo y la producción artística, como manifestaciones de resiliencia. Se usó un muestreo intencional para reclutar a los participantes, a través de programas y líderes comunitarios. Diez sobrevivientes cuyas casas fueron destruidas o dañadas durante el terremoto de 2010 accedieron a participar en entrevistas semi estructuradas, las que incluyeron narrativas verbales y una respuesta artística. Un análisis sistemático iluminó los contenidos psicológicos, tanto conscientes como latentes. Tres temas principales fueron identificados como centrales en el proceso de recuperación de los sobrevivientes y fueron luego contrastados con datos obtenidos en New Orleans posterior al huracán Katrina, explorando universalidad y factores contextuales en la creatividad y resiliencia post desastre. En concreto, en Talca se observó la creación artística para la venta en lugar de la creación artística para la expresión emocional observada en New Orleans; el idealismo y pensamiento orientado en el futuro se acentuó en Talca, mientras que en New Orleans pareció pronunciarse más el humor y la espiritualidad; y las conexiones con el entorno natural en Talca se yuxtaponen con fuertes afiliaciones vecinales y festividades culturales en los residentes de New Orleans.Palabras clave: resiliencia, creatividad, desastre, Chile, New Orleans Natural disasters-earthquakes, tornados, tsunamis, wild fires-are regular occurrences in many parts of the world, yet bring unimaginable challenges and irregular experiences to the daily lives of millions who are recovering from these events. How people react and what is effective in recovering from disasters seems to vary depending on a cultur...

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Section: Discussionmentioning

confidence: 99%

Section: Review Of Literaturementioning

confidence: 99%

Section: Community and The Self: Healing Collaboratively From Traumamentioning

confidence: 99%

mentioning

confidence: 99%

See 2 more Smart Citations

Creative Soups for the Soul: Stories of Community Recovery in Talca, Chile, After the 2010 Earthquake

Bender¹,

Metzl²,

Selman³

et al. 2015

Psykhe (Santiago)

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show abstract

“…According to Csikszentmihalyi (1997) enhancing creativity through exploration and discovery may consequently improve wellbeing. Specifically, Prescott et al (2008) found a strong correlation between art making activities and life achievements of the homeless. The participants in this co-creative design experience imagined design ideas through a series of accessible creative activities.…”

mentioning

confidence: 99%

Hope

Lapolla

2016

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A growing number of aging homeless women are looking for shelter and struggling to construct a sense of valued life and self (Gonyea and Melekis, 2016). The design process for the "Hope" garment engages underprivileged women in a co-creative design experience. The goal of this collaborative involvement was to inspire and positively impact the self-confidence of these women through use of their creativity in a designed garment. According to Csikszentmihalyi (1997) enhancing creativity through exploration and discovery may consequently improve wellbeing. Specifically, Prescott et al. (2008) found a strong correlation between art making activities and life achievements of the homeless. The participants in this co-creative design experience imagined design ideas through a series of accessible creative activities. This process also builds on design research such as "The Peoples' Print" by Melanie Bowles and Emma Neuberg in which textile design utilizes participatory design to empower consumers through direct involvement in the design and making process.After IRB approval, three women participating in a social enterprise job-training program at a local shelter were invited to participate in this collaboration. The goal of this program is to instill self-confidence and hope for women in poverty aspiring to improve their economic condition. Therefore, inspiration for the design in this project came from exploring the word "Hope" as part of the main mission for the participants in this program. Collectively the group started by creating a word map that would help drive the silhouette, color, print and detailing. The participants created unique color palettes with paint chips and hand drawn symbols to represent the word hope. Common themes were light colors, flowers and hearts. The participants' floral sketches were combined together to create an original print for the textile design of the garment. On a later date, the participants were provided with a half scale dress form and basic heart shapes to experiment with draping. A series of illustrated ideas in a variety of colors were created based on the participants' collaborative draping and print design. Collectively the group examined the ideas and all agreed on the best design to represent the word "Hope". During the discussion one participant commented about the design selection, "It was amazing that we all agreed on one pattern and color. We put in a lot of our own ideas."The design consists of a digitally printed wrap skirt on silk crepe de chine with a silk top created from 2 heart shaped pattern pieces and layered with a silk heart shaped wrap shawl. The three heart shaped pattern pieces were used to represent the three women participating. A floral motif from the participants' sketches was cut out in silk organza and layered as an open applique on the top. The design process was documented through a series of photos. One participant positively responded about the uniqueness of this process by saying, "I have never been a part of

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Art Therapy with Adolescents

Linesch¹

2015

The Wiley Handbook of Art Therapy

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Art Making as a Component and Facilitator of Resiliency With Homeless Youth

Cited by 33 publications

References 9 publications

Creative Soups for the Soul: Stories of Community Recovery in Talca, Chile, After the 2010 Earthquake

Creative Soups for the Soul: Stories of Community Recovery in Talca, Chile, After the 2010 Earthquake

Hope

Art Therapy with Adolescents

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