Trauma-informed community arts practice: learning from action research with women affected by gender based violence and interviews with UK-based commu

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Help or Hinder: Exploring Trauma-informed Community Arts through artist practices, the community arts environment and the medium of collageThis research will investigate the genre of portraiture and question how to make portraits of women who have been affected by abuse and trauma. An individual affected by trauma feels that they are "not being seen, not being mirrored, and not being taken into account" (Van Der Kolk 2014) which presupposes that portraiture may be beneficial to them in aiding their recovery. Recovery from trauma is enabled only by feeling safe with other people (ibid.) and it is crucial therefore that an artist working with women affected by trauma adjusts their working process to minimise harm.Through art practice work with women affected by domestic and sexual abuse, including an artist residency at Exeter's women domestic violence refuge (2013-14) and an animated film project (2014). I explored issues around portraiture of vulnerable women during my Masters at UWE (2015-18) and together with Devon Rape Crisis and Sexual Abuse Services (DRCSAS) devised a method of portraiture, approved by UWE ethics committee. Our method was safe, i.e. no harm to the participants, and revealed positive opportunities to explore how the practice of portraiture contributes to recovery which this research will address. My experience, partnerships, alongside the empathy and sensitivity which underpins my work places me in secure position undertake this research.Primary research question: How can I enhance the agency of the participant though the practice of portraiture?Further research questions include:- How will knowledge of trauma and its effects impact on the portraits made/creative output?- What are the benefits/outcomes for the women portrayed?- How do we mitigate the tension between artistic freedom/creative process and ethical responsibility?- What does a trauma-informed framework for visual artists look like?- How does the display of the portraits affect the women involved and the viewer of the portraits?Working with people affected by trauma is part of portraiture practice, e.g Al Solh's portraits of displaced peoples from the Syrian war. I have not yet found evaluation on the impact on the participants because the critical writing is solely the artwork (Close: Drawn Portraits 2018). In addition, organisations supporting visual artists provide little to no advice on trauma-informed practice (Arts Council, a-n). Recent seminars (Tate Gallery, 2016; University of Melbourne, 2016) indicate that this is a nascent area for further research.The research is informed by Berger's (date) critique of the portrayal of women, and Sontag's (date) consideration of the portrayal of trauma. Bishop's (date) examination of ethics versus aesthetics where artists work with participants is important , and questions Kester's theory that the artist "does not occupy a position of... creative mastery" (2006). I will explore ideas introduced by Downey (date) who introduces Bakhtin's theory that aesthetics is a form of ethics. The research will inform arts for health research which has paid less attention to people affected by trauma.