Art Therapy in Response to Natural Disasters, Mass Violence, and Crises by Joseph Scarce;

Author:Joseph Scarce;
Language: eng
Format: epub
Publisher: Jessica Kingsley Publishers
Published: 2021-12-21T00:00:00+00:00

Figure 8.1: Group art therapy in shelter (photo courtesy of Anaïs Lugo-Axtmann)

Clay bowls: past, present, and future

Clay was one of the materials we used to address sensory and kinesthetic needs during the therapeutic process and to give families the opportunity to create, reflect, and reconstruct their pieces. We prompted participants to create three bowls: one that represented the past, one the present, and one the future. First, they were taught how to create a sphere, to mold it by banging it on the table (which was a very cathartic and releasing action), then how to create a pinch pot, a coil pot and use a slab to create a pot and lid. We provided alternatives to meet the varying needs of the participants, as well as the challenge of learning a new creative technique for those interested. We encouraged them to reflect on what they would like to hold in each of those moments in time. They could imagine containing those memories, thoughts and feelings in the pots or create beads, or pebble like pieces from the clay. Considering how much change these families had been through, this appeared to be a fun yet helpful directive for participants of all ages to engage in, and helped them to process their feelings.

People tend to respond to the feel and movement of clay, allowing energy to be channeled through aggressive movements, connecting their conscious brains to the non-verbal memories and experiences where trauma resides. The malleable aspect of the clay seemed to allow users to let go, transform, and reconstruct, while alleviating stress, anger and sadness.

Some responses to this clay directive were specific to the bowls’ texture, some to meaningful objects included in each bowl, and some to the patterns, messages, and designs decorating each bowl. Participants, even the youngest ones, described their past, present, and future through clay and expressed appreciation for the opportunity to create a tangible piece of art that they could keep after losing so much. Sporadic sharing of their Maria experience became a natural occurrence during the visits, as they got into the flow of art-making and shared stories. Spiritual and religious themes often came up, as well as Puerto Rican themes, like the pilón (mortar and pestle) we commonly use to cook typical Puerto Rican food.

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