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

帮助或阻碍：通过艺术家实践、社区艺术环境和拼贴媒介探索创伤信息社区艺术这项研究将调查肖像画的流派，并质疑如何为受到虐待和创伤影响的女性制作肖像画。受创伤影响的个人认为他们“没有被看到，没有被反映，也没有被考虑到”(Van Der Kolk，2014)，这意味着肖像可能有助于他们的康复。只有与他人在一起感到安全，才能从创伤中恢复(同上)因此，至关重要的是，与受创伤影响的女性合作的艺术家调整她们的工作流程，将伤害降至最低。通过与受家庭和性虐待影响的女性进行艺术实践工作，包括在埃克塞特的女性家庭暴力庇护所驻留艺术家(2013-14)和一个动画电影项目(2014)。在威斯康星州大学攻读硕士学位期间(2015-18年)，我探索了围绕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)一起设计了一种肖像方法，得到了威斯康星州大学伦理委员会的批准。我们的方法是安全的，即不会对参与者造成伤害，并揭示了探索肖像练习如何有助于恢复的积极机会，这是本研究将解决的问题。我的经验，伙伴关系，除了支撑我工作的同理心和敏感性，我还可以安全地从事这项研究。主要研究问题：我如何通过肖像练习来增强参与者的代理能力？进一步的研究问题包括：-关于创伤及其影响的知识将如何影响所制作的肖像/创意产出？-对被描绘的女性有什么好处/结果？-我们如何缓解艺术自由/创作过程和道德责任之间的紧张关系？-视觉艺术家的创伤信息框架是什么样子的？-肖像的展示如何影响参与其中的女性和观看者肖像？与受创伤影响的人一起工作是肖像练习的一部分，例如，Al Solh对叙利亚战争中流离失所的人的肖像。我还没有找到对参与者影响的评估，因为批判性写作完全是艺术品(近距离：2018年画像)。此外，支持视觉艺术家的组织很少或根本没有提供关于创伤信息实践的建议(艺术理事会，a-n)。最近的研讨会(泰特美术馆，2016；墨尔本大学，2016)表明，这是一个有待进一步研究的新兴领域。伯杰(Date)对女性刻画的批评，以及桑塔格(Date)对创伤刻画的考虑，推动了这一研究。毕晓普(Date)对艺术家与参与者一起工作的伦理学与美学的(日期)审查是重要的，并质疑凯斯特的理论，即艺术家“不占据……创造性掌握的位置”(2006)。我将探讨唐尼(Date)提出的观点，他介绍了巴赫金的美学是一种伦理学形式的理论。这项研究将为健康研究的艺术提供信息，这些研究对受创伤影响的人关注较少。

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.