Poetry and trauma: exercises for creating metaphors and using sensory detail

Bullock, Owen

doi:10.1080/14790726.2021.1876094

Cited by 3 publications

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“…ARRTS is jointly run by the University of Canberra (UC) and the Australian Defence Force (ADF), with UC taking responsibility for Creative Writing and Visual Arts streams, and ADF personnel offering Music and Rhythm. This paper is the first evaluation of the Visual Arts stream to be published and comes from the combined perspectives of a researcher newly immersed in the program (Vahri McKenzie) and a long-time mentor (Caren Florance).Our contribution builds on recent applied creative writing research that delves into aspects of creative pedagogy in the ARRTS context(Bullock 2021a;Bullock 2021b;Bullock and Williams 2021;Magee 2021;Magee and Bullock 2021). Of particular value to the current paper is recent work describing the UC contribution as a program of 'creative interventions' guided by 'four principles' that are efficacious in aiding recovery…”

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confidence: 99%

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2022

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We were teaching that year, a subject called 'Writing Self, Writing Place'. And at the end of that, we took students, I took students in a very different direction from what you would expect writing to be. I spoke about writings with storytelling, and the telling of stories, and some of them was on country, about country, about crocodiles-baru I think they call it, up there in the Northern Territory. JEN:We used the essay of Val Plumwood's called 'Being Prey', about her experience of being a white person on country, on country that has law that she's not fully conscious of, or that she doesn't fully want to listen to, and of being attacked by a crocodile on that country.PAUL: Three times that crocodile took her down, spat her out. Third time he spat her towards the bank. She crawls up the bank in the dark and lays there expecting to die I reckon. But she was found and the rest of her life was spent wondering why she survived. And I think I remember you saying once that when she was asked, why do you think he let you go, why do you think that crocodile let you go? She said, all I can remember is that it was cloudy that day. You know, I think it was because the animal was juvenile, but I wouldn't imagine crocodiles play for fun. JEN: No.PAUL: So, if they do, that's something we don't know. JEN: Yeah. I mean the whole encounter kind of takes you into the unknown doesn't it? PAUL: Yeah.JEN: I remember when we decided to use that piece of writing, I'd read it a couple of times before, and maybe we'd even taught it before, but at some point those words that we've used at the beginning of the poem really stuck in me. They began to seem like an expression of something that could reach across and give or express some apprehension of how horrific the grip of colonisation and those experiences were, and are, for Indigenous people. They could carry across something about those experiences of the massacres, although I don't know that Val Plumwood was consciously writing to resonate with that. Still there's a resonant expression there of the pain and the terror. PAUL: Well, exactly. And it's also about place. She's told not to go to that place. But still she went. JEN: Yeah.PAUL: She's intrepid about being in the bush alone. She said, I've done this many times. She didn't do it any more times after that, but her paper spoke about prey, about being prey. JEN: Yeah.PAUL: Not only in the reader's place, in their heart, but on the page itself. As I said, from the beginning to that end of the part where I say Barkindji, there's a very different voice that ends there, that started with 'reconcile that' as a 'stick it up your arse' thing, you know. Jen:That's right. Because it comes into this conversation that comes back around. The hole in the fabric, or the hole in the flesh, it's not just left there. PAUL: Well, I know that place changes voice, and voice changes in different places. I've often thought of this, you know. Whether I could have written those words out there at Toorale, where those bones are. What other voice would it ...

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2022

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Reading and trauma: how the openness of contemporary poetry and haiku facilitates engagement

Bullock

Williams

2021

New Writing

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The Triumph of Bi-Racial Identity

Moss

2023

The Struggle for Justice, Equity, and Peace in the Global Classroom

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This chapter utilizes an autobiographical approach that links cultural history to the education children receive in the classroom. The author presents a narrative account of the author's personal story as a child of mixed racial identity as well as mixed cultural identity to explicate the range of emotions, the expanse of experiences rooted in racial hostility, and the child's response as he navigates this landscape and journey towards making sense of these experiences in the shaping of his identity. This chapter is grounded in funds of knowledge theory, identity theory, and culturally relevant theory. The process and resulting production of the author's own funds of knowledge challenge the validity of the traditional Eurocentric Western epistemologies that the author was formally educated within.

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Poetry and trauma: exercises for creating metaphors and using sensory detail

Cited by 3 publications

References 11 publications

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Reading and trauma: how the openness of contemporary poetry and haiku facilitates engagement

The Triumph of Bi-Racial Identity

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