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

创伤知情的社区艺术实践：从受性别暴力影响的妇女的行动研究以及对英国社区的采访中学习

• 批准号: 2241939
• 金额: --
• 依托单位: UNIVERSITY OF EXETER
• 依托单位国家: 英国
• 项目类别: Studentship
• 财政年份: 2019
• 资助国家: 英国
• 起止时间: 2019 至 无数据
• 项目状态: 未结题
• 来源: https://gtr.ukri.org/projects?ref=studentship-2241939
• 关键词: Trauma; informed; community; arts; practice

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.

帮助或阻碍：通过艺术家的实践，社区艺术环境和拼贴媒介探索创伤知情的社区艺术本研究将探讨肖像画的类型，并询问如何制作受虐待和创伤影响的妇女的肖像。受创伤影响的人会觉得自己“没有被看到，没有被反映，没有被考虑”（货车Der Kolk 2014），这意味着肖像画可能有助于他们的康复。只有在与他人相处时感到安全，才能从创伤中恢复过来（同上）。因此，与受创伤影响的妇女合作的艺术家必须调整其工作流程，以尽量减少伤害。通过与受家庭和性虐待影响的妇女合作的艺术实践，包括艺术家在埃克塞特妇女家庭暴力避难所的居住（2013-14）和动画电影项目（2014）。我在UWE（2015-18）我的硕士期间探索了弱势女性肖像的问题，并与德文郡强奸危机和性虐待服务（DRCSAS）一起设计了肖像的方法，由UWE伦理委员会批准。我们的方法是安全的，即对参与者没有伤害，并揭示了积极的机会，以探索肖像画的做法如何有助于恢复本研究将解决的问题。我的经验，伙伴关系，以及同情心和敏感性，这支撑着我的工作，使我在安全的位置进行这项研究。主要研究问题：我如何才能提高参与者的机构，通过肖像画的做法？进一步的研究问题包括：-如何将创伤知识及其影响的肖像/创意输出？对所描绘的妇女有什么好处/结果？我们如何缓解艺术自由/创作过程与道德责任之间的紧张关系？视觉艺术家的创伤知情框架是什么样子的？肖像的展示如何影响参与的女性和肖像的观看者？与受创伤影响的人一起工作是肖像画实践的一部分，例如Al Solh的叙利亚战争流离失所者的肖像。我还没有找到对参与者影响的评估，因为批判性写作仅仅是艺术作品（关闭：绘画肖像2018）。此外，支持视觉艺术家的组织几乎没有提供关于创伤知情实践的建议（艺术理事会，a-n）。最近的研讨会（泰特美术馆，2016年;墨尔本大学，2016年）表明，这是一个新生的领域，进一步研究。该研究是由伯杰（日期）的妇女的写照批评，和桑塔格（日期）的创伤写照的考虑。毕晓普（日期）对艺术家与参与者合作的伦理与美学的审查是重要的，并质疑凯斯特的理论，即艺术家“不占据...创造性掌握”（2006）。我将探讨由唐尼（日期）谁介绍了巴赫金的理论，美学是一种形式的伦理介绍的想法。这项研究将为艺术健康研究提供信息，这些研究对受创伤影响的人关注较少。