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Greed, Grief, a Gift. War-Traumatized Women and Contextualizing Expressive Arts Therapy

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Greed, Grief, a Gift. War-Traumatized Women and Contextualizing Expressive Arts Therapy Lingnan University Digital Commons @ Lingnan University Theses & Dissertations Department of Cultural Studies 2016 Greed, grief, a gift. War-traumatized women and contextualizing expressive arts therapy Sjoukje Marloes VAN HOUTEN Follow this and additional works at: https://commons.ln.edu.hk/cs_etd Part of the Critical and Cultural Studies Commons Recommended Citation Van Houten, S. M. (2016). Greed, grief, a gift. War-traumatized women and contextualizing expressive arts therapy (Doctor's thesis, Lingnan University, Hong Kong). Retrieved from http://commons.ln.edu.hk/ cs_etd/31/ This Thesis is brought to you for free and open access by the Department of Cultural Studies at Digital Commons @ Lingnan University. It has been accepted for inclusion in Theses & Dissertations by an authorized administrator of Digital Commons @ Lingnan University. Terms of Use The copyright of this thesis is owned by its author. Any reproduction, adaptation, distribution or dissemination of this thesis without express authorization is strictly prohibited. All rights reserved. GREED, GRIEF, A GIFT. WAR-TRAUMATIZED WOMEN AND CONTEXTUALIZING EXPRESSIVE ARTS THERAPY VAN HOUTEN SJOUKJE MARLOES PHD LINGNAN UNIVERSITY 2016 GREED, GRIEF, A GIFT. WAR-TRAUMATIZED WOMEN AND CONTEXTUALIZING EXPRESSIVE ARTS THERAPY by VAN HOUTEN Sjoukje Marloes A thesis submitted in partial fulfilment of the requirements for the Degree of Doctor of Philosophy in Cultural Studies Lingnan University 2016 ABSTRACT Greed, Grief, A Gift. War-Traumatized Women And Contextualizing Expressive Arts Therapy by VAN HOUTEN Sjoukje Marloes Doctor of Philosophy This dissertation explores the universality of trauma-storing in the body and the need for contextualization when it comes to treatment. Of the two central themes addressed, the first is war-related trauma and the intersection of expressive arts therapy and South (East) Asia (Nepal and Hong Kong in particular) with its specific imagery, art, and culture, and to see how both feed into each another and can transform as a result. The question is how to locally sensitize expressive arts therapy, which has its roots in Europe and the United States, to the Hong Kong setting; more specifically, to working with Nepali women who try to make Hong Kong their new home. The dissertation suggests a holistic, locally, and culturally sensitive approach to expressive arts therapy. This means adjusting the expressive arts framework and practices to the local and cultural setting, as well as looking at the resources (myths, dance forms, breathing practices, rituals, etc.) present in the local culture and including them in the anthropological approach to trauma transformation. The second theme addressed is the importance of critically reflecting on power within therapeutic relationships, especially in trauma treatment, and recognizing the ontological underpinnings underlying therapy as well as our ‘human self-concept’, which leads to the acknowledgement of only a certain type of human experience, that of conscious, self-aware subjects in control of their acts. The latter leaves little room for understanding traumatic experiences, in which trauma victims seem to be unable to remember or shape the traumatic event. In Walter Benjamin’s dissertation, any kind of representation of our personal and collective identities is seen as a curation. When approaching history as a ‘collection’ of memories, it creates room for traumatic experiences to exist. Benjamin’s dissertation is applied to understanding trauma in such a way where it is precisely the discontinuity, the disparities, the ruptures of history and memory that make trauma visible; these are the gifts handed to the next generation. It is the piecing together of fragments and uncertainties that transforms trauma into a space of insight, creating meaning from what is known and unknown, bridging the stories and images of history present in our implicit and explicit memory. In the critical reflection on traumatology, a Foucauldian approach is taken regarding the therapist-client relationship. Foucault speaks of a top-down apparatus with policies that act under the guise of ‘protect and serve’, and language that frames the clients as a helpless victim in need of ‘betterment’ by the therapist. The only way for therapists to tackle the problem of trauma and psychotherapy, and to admit its social/cultural construction and the role of power, is to read themselves into the problem, to go beyond one-way mirroring, to analyze their pathology, and attempt to change patterns of communication that reproduce the psy-complex apparatus. In this thesis the latter is done by including the creative and analytic reflections of expressive arts therapists and of the author herself. DECLARATION I declare that this is an original work based primarily on my own research, and I warrant that all citations of previous research, published or unpublished, have been duly acknowledged. ------------------------------------------ VAN HOUTEN Sjoukje Marloes Date CERTIFICATE OF APPROVAL OF THESIS GREED, GRIEF, A GIFT War-traumatized women and contextualizing expressive arts therapy by VAN HOUTEN Sjoukje Marloes Doctor of Philosophy Panel of Examiners : (Chairman) (External Member) (Internal Member) (Internal Member) Chief Supervisor : Name LAU, Kin Chi Co-supervisor : Name CHEN, Yun-chung Approved for the Senate : ----------------------------------------------------------- Chairman, Postgraduate Studies Committee ----------------------------------------------------------- Date CONTENTS LIST OF FIGURES .......................................................................................................... iv CHAPTER 1 ‘The introduction’ ...................................................................................... 2 1.1 Introduction to the topic ................................................................................................ 2 1.2 Research problem .......................................................................................................... 5 1.3 Introduction to the Research Questions ...................................................................... 18 1.4 Introduction to the Case Studies & the Research Setting............................................ 19 1.5 Research population .................................................................................................... 24 1.6 A/r/tography & the artist-researcher ......................................................................... 26 1.7 The A/r/tographer’s Biases, Assumptions and Complications ..................................... 30 1.8 Intentions and Rationale for Research ........................................................................ 35 1.9 Format of Dissertation ................................................................................................. 39 CHAPTER 2 ‘Theory’ ................................................................................................... 43 2.1 Conflict characteristics ................................................................................................. 44 2.1.1 Violence & Conflict characteristics ....................................................................... 44 2.1.2 Contemporary conflict patterns............................................................................ 49 2.2 The Conflict impact ...................................................................................................... 52 2.2.1 Conflict impact of civil wars .................................................................................. 52 2.2.2 How to describe the impact of contemporary conflicts ....................................... 55 2.3 Traumatology & displacement ..................................................................................... 63 2.3.1 The ontology of women, wellbeing, and trauma .................................................. 64 2.3.2 Foucault, power and the therapy apparatus ........................................................ 73 2.3.3 Women, war trauma, and displacement .............................................................. 76 2.3.4 Universality of trauma storing & contextual holistic treatment ........................... 80 CHAPTER 3 ‘Methodology’ ......................................................................................... 98 3.1 Phenomenology ........................................................................................................... 98 3.2 Arts Based Research and Performativity ................................................................... 106 3.3 Inquiry-based practice ............................................................................................... 108 3.4 Expressive arts & Life/Art Process ............................................................................. 113 3.5 The methods .............................................................................................................. 122 3.6 Research participants ................................................................................................. 128 3.7 Conclusions ................................................................................................................ 130 i CHAPTER 4 ‘Context: Nepal’ ..................................................................................... 133 4.1. Nepal’s civil war ........................................................................................................ 135 4.2 The consequences of Nepal’s crises on women’s lives .............................................
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