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

Bullock, Owen; Williams, Jordan

doi:10.1080/14790726.2021.1891256

Cited by 4 publications

(5 citation statements)

References 11 publications

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“…Until a person is able to speak or narrate their story, fragmented words in the form of poetry with a recognized structure such as haiku may be useful. Bullock and Williams (2022) found when using haiku with veterans, both reading and writing it, it facilitated engagement. They said haiku differed from contemporary poetry in itsnuanced employment of metaphor and other poetic tropes.…”

Section: Resistant Catharsismentioning

confidence: 97%

“…It focuses much more frequently on the external world and is useful to the new writer as a simple means of exploring form and content, as well as the use of line and space. (Bullock & Williams, 2022, p.20)…”

Section: Resistant Catharsismentioning

confidence: 99%

“…There is a growing tradition of using Japanese poetic forms as research. For example, haiku has been used in an arts-based therapeutic project with veterans in Australia (Bullock & Williams, 2022), as field notes in feminist research on running (Faulkner, 2018), and as ekphrasis for audience in performance (Prendergast, 2004). Tanka has been used to research domestic abuse (Breckenridge, 2016) as well as adolescent identity (Furman et al, 2007), and with our research, we build on that to use the collaborative form of renga to research GBV.…”

Section: Japanese Poetic Forms In Researchmentioning

confidence: 99%

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Silent Footsteps: Renga Poetry as a Collaborative, Creative Research Method Reflecting on the Immobilities of Gender-Based Violence in the Covid-19 Pandemic

Parks

Holt

Lewis

et al. 2022

Cultural Studies ↔ Critical Methodologies

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In the Covid-19 global crisis, gender-based violence (GBV) has been reshaped and reconfigured, with increases in some places and decreases in others. During our exploration of the changes in GBV through trans/feminist collaborative reflexive storying, we noticed the fragmentary nature of our storied recollections, which both represented and heightened the emotions in the work. With an intention of distilling the words even further, we challenged ourselves, as transdisciplinary researchers, to create a collaborative renga poem, which we titled, “Silent Footsteps.” An ancient Japanese form, the renga is a series of short, linked verses. This article demonstrates that renga offers an accessible, collaborative poetic research method, not only for research teams but also for non-academic groups to connect with each other. It has the ability to convey deep emotion, with an authentic personal voice, while being confined to structure and rules. Along with creating two stanzas each turn in a round of emails, we all wrote a reflection to engage with the process that identifies this method of writing research as holistic and creative, able to further connect the authors, reflect on the new knowledge and meaning that this work has motivated. Based on these reflections, which are woven throughout and on the renga poem, which is presented in full at the end, we argue that (a) renga is a timely poetic form, (b) it enhances transdisciplinary collaboration, and (c) that it offers both resistance and catharsis.

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Section: Resistant Catharsismentioning

confidence: 97%

Section: Resistant Catharsismentioning

confidence: 99%

Section: Japanese Poetic Forms In Researchmentioning

confidence: 99%

See 1 more Smart Citation

Silent Footsteps: Renga Poetry as a Collaborative, Creative Research Method Reflecting on the Immobilities of Gender-Based Violence in the Covid-19 Pandemic

Parks

Holt

Lewis

et al. 2022

Cultural Studies ↔ Critical Methodologies

View full text Add to dashboard Cite

show abstract

“…When the mind is spacious after quieting, it is open to and available for new experiences. Writing and illustrating Haiku poetry is a way to overcome mental barriers, explore the world as it could be, deal with stress, and find peace on the road to recovery (Bullock & Williams, 2022;and Johnson, 2020).…”

Section: The Contextmentioning

confidence: 99%

Maximizing use of Poetry and Art in Public Spaces for Promoting Language Development

Stanley¹,

Stanley²,

Fletcher³

2022

babylonia

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Over time, graffiti has inspired art and poetry exhibits by marginalized youth, once excluded by elite museums, now is surging in popularity, and being curated in public spaces at airports, subways, parks, street corners, and even construction sites. This paper highlights Hope at Hand, Inc., an established North Florida nonprofit provider that uses therapeutic art and poetry exhibitions in public spaces to help incarcerated youth recognize and overcome circumstances that limit their successful participation in society. Also, the paper reviews similar international art exhibitions that re-envision the ways museums can decolonize and support more community engagement and inclusive language learning. The lessons learned will demonstrate the ways in which exhibiting poetry and visual art can engage youth and create spaces for promoting cultural awareness. This holistic intervention framework integrates poetry, museum best practices and the arts for bridging and empowering lives. It fills a critical void in knowledge and practice between the arts, museum studies, public health, and citizenship, by considering place-based research in creating a more kind and inclusive society with the arts.

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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…”

mentioning

confidence: 99%

Untitled

2022

AXON

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

Cited by 4 publications

References 11 publications

Silent Footsteps: Renga Poetry as a Collaborative, Creative Research Method Reflecting on the Immobilities of Gender-Based Violence in the Covid-19 Pandemic

Silent Footsteps: Renga Poetry as a Collaborative, Creative Research Method Reflecting on the Immobilities of Gender-Based Violence in the Covid-19 Pandemic

Maximizing use of Poetry and Art in Public Spaces for Promoting Language Development

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