Carto-aesthetics: Modalities of Art Making

2021 ◽  
pp. 108-137
Author(s):  
Simonetta Moro
Keyword(s):  
Art Making

The Power of Art to Cope With Trauma: Psychosocial Intervention After the Tsunami in Japan

2020 ◽  
pp. 002216782098214
Author(s):  
Tami Gavron
Keyword(s):  
Natural Disasters ◽  
Psychosocial Intervention ◽  
Cultural Context ◽  
Psychosocial Interventions ◽  
Kindergarten Teachers ◽  
Japanese Culture ◽  
Art Making ◽  
Cultural Expression ◽  
The Arts

This article describes the significance of an art-based psychosocial intervention with a group of 9 head kindergarten teachers in Japan after the 2011 tsunami, as co-constructed by Japanese therapists and an Israeli arts therapist. Six core themes emerged from the analysis of a group case study: (1) mutual playfulness and joy, (2) rejuvenation and regaining control, (3) containment of a multiplicity of feelings, (4) encouragement of verbal sharing, (5) mutual closeness and support, and (6) the need to support cultural expression. These findings suggest that art making can enable coping with the aftermath of natural disasters. The co-construction underscores the value of integrating the local Japanese culture when implementing Western arts therapy approaches. It is suggested that art-based psychosocial interventions can elicit and nurture coping and resilience in a specific cultural context and that the arts and creativity can serve as a powerful humanistic form of posttraumatic care.

Biopsychosocial characteristics associated with engagement in art making among older adults

2021 ◽  
Vol 42 (3) ◽  
pp. 727-733
Author(s):  
Kyung Soo Kim ◽  
Kristine L. Kwekkeboom ◽  
Tonya Roberts ◽  
Earlise Ward
Keyword(s):  
Older Adults ◽  
Art Making

Visual Art Making for Therapist Growth and Self-Care

2007 ◽  
Vol 20 (2) ◽  
pp. 167-182 ◽  
Author(s):  
Stephanie Lewis Harter
Keyword(s):  
Visual Art ◽  
Self Care ◽  
Art Making

Digital Art Making as a Representational Process

2013 ◽  
Vol 22 (1) ◽  
pp. 121-162 ◽  
Author(s):  
Erica Rosenfeld Halverson
Keyword(s):  
Digital Art ◽  
Art Making

Making the unfamiliar personal: arts-based ethnographies as public-engaged ethnographies

2013 ◽  
Vol 13 (4) ◽  
pp. 402-413 ◽  
Author(s):  
Lydia N Degarrod
Keyword(s):  
Social Justice ◽  
Embodied Knowledge ◽  
Art Making ◽  
The Public ◽  
New Thinking ◽  
Public Exhibition ◽  
Forms Of Knowledge

I present the installation Geographies of the Imagination, an arts-based ethnography about long-term exile, as a form of public ethnography that unveils the acquisition and transmission of ethnographic knowledge as interactive, emergent, and creative. I will show how the methods of collaboration and art making created bodily forms of knowledge among the participants and the audience at the exhibition of the installation that have the potential for stimulating new thinking. The use of these methods advanced the acquisition of ethnographic knowledge, and heightened the development of empathy among the participants and the researcher. Furthermore, the public exhibition of this installation allowed the participants to exercise social justice, and created a setting for socially experiencing embodied knowledge.

(Re)storying Japanese Canadian Histories: Artistic Engagements

2021 ◽  
pp. 153270862098726
Author(s):  
Matthew Chin ◽  
Izumi Sakamoto ◽  
Jane Ku ◽  
Ai Yamamoto
Keyword(s):  
Identity Formation ◽  
Meaning Making ◽  
Art Making ◽  
History Writing ◽  
The Past ◽  
Common Structure ◽  
Academic History ◽  
Historical Accounts ◽  
Japanese Canadian ◽  
Cultural Identity Formation

This paper examines how Japanese Canadian (JC) artists challenge discursive limitations of constructing representations of JC pasts. Their interventions into JC history-making are significant given the rise of interest in and proliferation of JC historical accounts, partly as a result of the accelerated passing of the remaining survivors of JC incarceration within a broader context of unsettled and unsettling discourses around incarceration in JC families and communities. Contrary to narratives of JC history premised on the conventions of academic history writing, we explore how JC artists engage with the past through their creative practices. Focusing on JC artist Emma Nishimura’s exhibit, The weight of what cannot be remembered, we suggest that JC creative history-making practices have important implications for processes of ethno-racial and-cultural identity formation. In so doing, we decenter state-bound history-making processes that reproduce colonial frameworks of JC subjectivity, temporal linearity, and “objectivity.” Instead, we focus on the temporally circuitous way that Nishimura and other JC artists engage with the past through the idiom of personal intimacy in ways that facilitate a more expansive notion of JC identity and community. Though Nishimura’s work is indexical as opposed to representative of contemporary JC art-making, it is significant in tapping into a common structure of feeling among JC artists that emphasizes a notion of JC’ness rooted in the active struggle to establish a relationship with the past. In attending to Nishimura’s work, we highlight the productivity of art-making as a method of (re)storying to expand meaning-making endeavors within and across communities.

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