KnitWell: exploring the transformative power of creative knitting as a new model of craft therapy

这个项目旨在批判性和创造性地探索正念领域之外的编织，包括创造一个通往我们内心想法的视觉之旅，创造一个通过过程和产品进行自我表达和反思的非语言工具。集中于我们如何将针织作为一种治疗出口的创造性方面，随后的研究领域包括颜色、针法和质地选择所具有的价值，以及如何使针织成为国民健康保险制度内的一种创造性渠道。这个项目发展了胡德(2018)关于编织作为神圣空间的概念，探索如何将编织的连续性作为一种不断自我反思的工具。针织拥有丰富的纹理信息，只有制造者才能准确解码。这不仅采用所给工具的形式，即纱线的颜色和质地，而且还采用嵌入材料中的其他物理标记的形式。例如，压力可能会导致注意力不集中，从而导致针脚掉针，而身体的紧张可能会转化为织物的紧张。这提供了针织作为一种形式的日常和长期反映在一个巨大的个人代表调色板。这项以实践为导向的研究代表了一个持续的人种学过程，正如我在硕士研究中所证明的那样，利用定性数据收集，作为一个不断演变的针织反思环。我的专业和学术背景非常适合以实践为导向的研究方法。毕业于First Class BA(Hons)Fashion Design后，我获得了王子信托基金的支持，在2013年创办了自己的针织企业Ewe Nect20。母羊针织20创造了建立一个蓬勃发展的手工艺者社区的机会。在与这个社区接触的同时，我注意到，对许多人来说，编织是一种释放。意识到Myzelev(2016)的缓慢、重复的动作使编织者能够释放他们周围的压力，我将这个想法融入到我的店内互动中。凭借着从母羊针织20中获得的知识和洞察力，我在2018年以优异的成绩完成了硕士学位。我在2018年温彻斯特圈编织大会上发表了我的研究成果，并发表了一篇题为《针织项目中的共同设计与合作：通过编织集体使用色彩和情感提升幸福感》的论文。这项研究目前正在作为一篇文章发表在《手艺杂志》上。目前的研究大多将艺术治疗作为一个伞形群体来研究，而没有考虑针织的独特性。幸福手艺的一个主要因素是你可以通过手艺而不是个人反思来实现社交联系。在这方面，我的研究建立在Myzelev(2016)的工作基础上，并从我们疯狂的日常生活中创建了一个避难所，在那里我们能够在社交编织的情况下走到一起，同时仍然有机会反思自己。内容广泛的文献讨论了为幸福而编织。然而，这个项目的目的是开发针织作为一种物质过程和视觉工具的触觉。我的项目不同于以前的研究，我将编织作为一种创造性的出口，而不是简单地专注于培养一种冥想的精神状态(CorkHill：2014)。考虑到之前的艺术治疗研究已经确定的方面，从材料和空间的角度考虑工艺(Cruwys，2016，Desmarais，2016，Renehan，2015，Mayne，2016，Townsend&Niedder，2016)，我的目标是演变这样的观点，即针织具有的唯一治疗益处是在它的物理上。这个项目采用了威尔逊(2014)的研究，考虑到编织的独特品质和探索所有创造性因素，以及接受非语言交流的能力，旨在通过编织赋予参与者一条创造性的生命线。

This project aims to critically and creatively explore knitting outside the realms of mindfulness, encompassing creativity to create a visual journey to our innermost thoughts, creating a non-verbal tool for self-expression and reflection, through both the process and the product. Focussing upon how we can embrace the creative aspect of knitting as a therapeutic outlet, subsequent areas of investigation include the value held within colour, stitch and texture choice and the method by which knitting can be made accessible as a creative outlet within the NHS. Developing Hood's (2018) concept of knitting as a sacred space, this project explores how the continuity of knitting a singular item can be used as a tool for constant self-reflection. Knitting holds a rich textured layering of information that can only be accurately decoded by the maker. This takes the form of not only the tools given i.e. the colour and texture of the yarn, but also other physical markers embedded within the material. For example, stress may cause a loss of concentration and therefore dropped stitches, while tension in the body may translate to tension in the fabric. This offers knitting as a form of daily and long term reflection across a vast palette of personal representation. This practice-led research represents an ongoing ethnographic process, as proven within my Masters research, utilising qualitative data collection, as an ever-evolving loop of knitted reflection. My professional and academic background are uniquely suited to a practice-led research approach. After graduating with First Class BA (Hons) Fashion Design, I won support from the Prince's Trust to open my own knitting business, Ewe Knit 20 in 2013. Ewe Knit 20 created the opportunity to build a thriving community of crafters. Whilst engaging with this community, it was brought to my attention that for a number of people, knitting was a form of release.Recognising Myzelev's (2016) notion of the slow, repetitious actions that enable a knitter to release the pressures they carry around, I built this idea into my interactions within the shop. With the knowledge and insight gained from Ewe Knit 20, I completed my Masters with Distinction in 2018. I presented my research at In the Loop knitting conference (Winchester 2018), delivering a paper entitled 'Co-Design and Collaboration in the KnitWell project: using colour and emotion to enhance wellbeing through a knitting collective.' This research is currently being developed as an article for Craft Journal. The majority of current research focuses on 'art therapy' as an umbrella group, not considering the uniqueness of knit. A major factor in craft for wellbeing is the social connectivity you can achieve through crafting rather than individual reflection. In this respect, my research builds upon the work of Myzelev (2016), and the creation of a sanctuary from our frantic day-to-day lives, where we are able to come together within social knitting situations, whilst still having opportunity to reflect on oneself simultaneously. Wide-ranging literature discusses knitting for wellbeing. However, what this project aims to do is exploit the tactility of knit as a material process and visual tool. My project is different from previous research through embracing knitting as a creative outlet, not simply focussing on developing a meditative mind state (Corkhill:2014). Considering aspects already identified in previous art therapy research that considers the craft in terms of material and space (Cruwys, 2016, Desmarais, 2016, Renehan, 2015, Mayne, 2016, Townsend & Niedderer, 2016), I aim to evolve the position that the only therapeutic benefit that knit holds is in its physicality. Taking on board Wilson's (2014) research, considering the unique qualities of knit and exploring all creative factors, and the ability to embrace non-verbal communication this project aims to endow its participants with a creative lifeline through knit.