The Community cultural development (Ccd) model is deeply concerned with social justice and is a collective process which contributes to changes in people's lives and has long-term development benefits for a community (Mills & Brown, 2004, p. 6). It is a partnership rather than the expert sharing with the amateur where both the Ccd worker and the participants take part in creative activities to bring about change (Mills & Brown, 2004). Projects and programmes based on Ccd principles seek to provide safe spaces that are useful in exploring the nature of injustices or issues and developing constructive and creative ways of working with them (Queensland Community Arts Network, QCAN Annual Report, 2004, p. 3. Published in-house and distributed to members).
This model includes a range of creative modalities from dance, theatrical performances, and choirs, to art exhibitions and publications all of which have the common theme of a collaborative and empowering process (Queensland Community Arts Network, QCAN Annual Report, 2004). The value of and the link between creativity and wellbeing was outlined in this report in a bid to influence the policy makers about the value of Ccd projects when the threat
of withdrawal of government funding to organisations employing Ccd workers was imminent. The CEO of the Australia Council, (Bott, 2004, p. 2) suggests that ‘investing in collaborative, creative activities can contribute to individual and community well-being. This can be expressed in a partnership between government and non-government agencies, between communities and multi-disciplinary teams, between artist, health workers, planners, scientists, policy makers and community workers.”
3.7.1 Being a participant observer
This form of research is usually undertaken over an extended period. It can involve a variety of methods which may include, “direct observation, participation in the life of a group, informal interviews, collective discussions, self-analysis, results from activities undertaken and life histories” (DeWatt, K, DeWatt, B. & Wayland, 1998, p. 270). The four stages of participant observation are: 1) establishing rapport or getting to know the people: 2) immersing oneself in the field: 3) recording data and observations, and 4) consolidating the information gathered (Howell, 1972, p. 369). These stages have similarities to the heuristic enquiry (Douglas & Moustakas, 1985): 1) initial engagement– building trust in the community: 2) immersion – exploration of the question, problem or theme; 3) acquisition – collection of data, and 4) realisation – synthesis and understanding.
3.7.2 Being present, mindful and aware
Having the skill to remain as fully present as possible to a group participant as well as to their own inner thoughts or feelings in a one-on-one or a group situation requires that the researcher/facilitator set aside any prior personal opinions, theories, processes or assumptions about the state of physical or mental health of the participants. This then enables the
researcher/facilitator to resonate and feel intuitively attentive to both himself and others (Lett, 2011, p. 267).
The practice of mindfulness as described by Jon Kabat-Zinn (2000 p. 67) includes “paying attention, in a particular way, on purpose, in the present moment and non-judgementally” and has similarities to the concept of Being-in. Being-for and Being-with (Moustakas. 1995). Being aware and mindful of culturally appropriate behavior, cultural norms, attitudes, beliefs, values, and cultural communication styles, for example, hand gestures and eye contact means “finding a way to communicate in a way that respects and accepts cultural difference” (Geldard & Geldard, 1998, p. 335). This knowledge is essential when relating to vulnerable participants in a group situation who may have a different language, or background, social practices, ways of dressing and ways of behaving (Geldard & Geldard, 1998).
3.7.3 Being a companion on the journey
Being a companion on the journey is a similar concept to Moustakas’s theory of Being-In, Being-For, and Being-With. Deurzen (1999, p. 109) defines companioning as “a recognition of being companions in the human struggle to live a worthwhile life under difficult circumstances. In this sense, we can redefine ourselves as our client’s colleague in the job of living - partners in the solving of the mysteries of life.”
Companioning is a concept embedded in some counselling practices especially when the client is dealing with issues of loss and grief. It is also a relevant concept to use when working with vulnerable people who may flourish as a result of having a person who willingly becomes a companion on their journey while they participate in group activities, experience being part of the group process and discover aspects of themselves while listening to the stories of others (Lett, 2011).
3.7 Chapter summary
This chapter introduced important concepts and theories that underpinned this research enquiry and argued for the benefits of using the creative arts in community projects to increase health and well-being, or for research purposes, particularly where vulnerable people are involved. It examined the benefits of using a Community Cultural Development (Ccd) framework, as well as a feminist and narrative approach to connect with and validate the women’s lived experiences. The value and importance of using reflective practice for documenting, clarifying and for self-care while working with this population were explored The following chapter introduces the three art spaces, the art group participants, and the group process I applied in my role as the artist, participant observer and Ccd Worker to connect with the participants.
Chapter Four: Initial engagement with women at housing
risk through community-based art-groups
The artist creates and recreates unconscious processes…and invites others into this in- between space, beyond the merely private, subjective, or psychological, which serves as a resting place between inner and outer reality. Creative expression – through art, philosophy, religion or mathematics – may thus resolve a situation, and allow for new possibilities (Winnicott, 1986, p. 36).
4.1 Introduction
Over a period of eighteen months during 2012 and 2013, I volunteered my skills as a Community cultural development worker (Ccd), participant observer and artist, within three inner-city settings: a homeless women's shelter, an agency which provides support on many levels to marginalised people, and a new social housing complex. Each setting had a designated area suitable for art activities. As a volunteer, I was required to have a police check and obtain a Disability Services Positive Notice card – a government requirement for people working with a vulnerable population. All of the staff in the agencies were aware that I had commenced doctoral studies during this time and was developing and testing a new qualitative art-based method for working with vulnerable people.
Using the concept of Being-in. Being-for and Being-with (Moustakas, 1995) and art-making techniques as a starting point for conversations with the women offered me flexibility in the delivery of creative activities, and the ability to respond to an individual's desired outcome from the session. Each art group was unique and had different outcomes.