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| Id | 928 | |
| Author | Vettraino E., Linds W., Jindal-Snape D. | |
| Title | Embodied voices: using applied theatre for co-creation with marginalised youth | |
| Reference | Vettraino E., Linds W., Jindal-Snape D.; Embodied voices: using applied theatre for co-creation with marginalised youth ;Emotional and Behavioural Difficulties vol:22 issue: 1.0 page:79 |
Link to article | https://www.scopus.com/inward/record.uri?eid=2-s2.0-85014460357&doi=10.1080%2f13632752.2017.1287348&partnerID=40&md5=006574702a824f91251d14e1be0117a2 |
| Abstract | In this article, we take a strength-based approach to understand how applied theatre as a vehicle provides opportunities for embodied voices to have a positive influence on the well-being, and attitudes to health, of young people who have been ‘pushed’ to the margins. We begin by explaining the concepts of well-being, embodiment and embodied voices, and applied theatre. Following this we explore an example of a theatre project developed in Canada with Indigenous youth to illustrate how the well-being of those who might be termed ‘marginalised’ in this context, is enhanced through a process of embodied reflexivity using applied theatre approaches. Finally, we discuss challenges with this approach to working with ‘marginalised’ youth, and also present some recommendations for professionals using applied theatre for co-creation with ‘marginalised’ youth for their well-being.We share how our research led us to conclude that a commitment to the arts as a fundamental and core process for developing wellness and wellbeing is necessary. This would mean professionals associated with any programmes or projects generated to explore embodied work with young people need see the arts as a philosophical underpinning, rather than as just an additional activity that can be inserted into any programme. © 2017 SEBDA. |
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| Through this approach, artistic endeavours are recognised as parts of life that promote and sustain health and wellness. . | This involves exploring relationships through the arts where the arts are both a research method and a programme that develops well-being. . | Evidence would indicate that among the benefits of using the arts as an underpinning philosophy in working with young people is that there are increased levels of motivation, sense of self-efficacy and achievement, an enhanced ability to cope with diversity, uncertainty and change, as well as the enhancement of social skills and emotional development. . | Preliminary findings from this study appear to support the broader literature base around the arts as beneficial approaches to affecting positive change and behaviours around well-being. . | In particular, the arts have been shown to improve the ability for some marginalised young people to form stronger social and group bonds, to identify with positive outlooks for future opportunities and find communication and interaction with others easier. . | The continuity of connection between facilitators and the young people was also pivotal to the learning process and this raises implications for teachers engaging in embodied work within classroom contexts where perhaps a number of different teachers work with a given group. . | Also highlighted in this paper are the benefits of working with the arts in contexts where young people have been marginalised. . | The arts are how we learn about, come to terms with, and express our identities, emotions, thoughts and spiritualities (Nadeau and Young, 2006) and both transmit traditional knowledge and promote embodied healing. . | The arts, including creative drama, enable a dialogic dance to occur between mind and body; a socially constructed process that creates moments of insight that are both cognitively and physically experienced. . | Through interviews with youth participants and adult facilitators in our workshops we have heard that the activities involved in applied theatre workshops were not just fun - they had a greater significance, in that they build trust, enabling the development of voice, and the sharing of power. . | While covering a broad range of visual, aural, oral and performative activities, the authors have focused on the benefits of working with applied theatre methodology to engage marginalised young people in embodied processing of their experiences and stories. . | In addition, the workshops also connected youth to elders and cultural practices; they told us that these connections were also ways to learn about themselves. . | Facilitating these experiences can enable young people to give an embodied voice to their individual and shared experiences. . |
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