Art therapy with a young refugee woman – survivor of war
Abstract This essay represents an art therapy case study with a young refugee woman called Hanna, which took place at a day centre in an NHS trust. In particular, I focus on the client's loss of home and her nostalgic feeling – an experience particular to refugees. This essay is an exploration of meanings and the client's feelings of nostalgia, separation and loss, abandonment, guilt and shame, helplessness and anger, together with good childhood memories, tradition and religious belief which are expressed in her images through symbols. I also explore the importance of the provision and the effectiveness of art therapy and how a therapeutic relationship created a container that supported this client to build strength and resilience to cope with her difficult situation. Reference will be made to the importance of good early attachment and how this helps to build resilience in individuals recovering from trauma.
As part of ‘two essays in dialogue’ with a piece written by Dale Hudson, this article ::: advances critical discussions of the documentary film given the context of, and ::: challenges posed by, digitality. Specifically, it analyses ‘the digital’ in Michael ::: Takeo Magruder’s {transcription} and [FALLUJAH. IRAQ. 31/03/2004] and ::: Christina McPhee’s La Conchita mon amour as a means to advance discussion ::: of documentary beyond claims to realism and documentary truth towards what ::: Trinh T. Minh-ha calls ‘boundary events’. Tay argues that digital video, editing ::: and compositing expose the limitations of visual evidence to represent trauma.