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This became particularly evident in January , when the timing of the program coincided with the Asian tsunami disaster, which affected millions of people. Although the group leaders did not mention the tsunami, it was represented over and over in the sand tray by many children, who expressed their concerns for their country and family, their fear of repetition, but also their desire to help, repair and, above all, make sense of such a disaster.
Again, religious signifiers were at the forefront of the attribution of meaning and of the imagined reconstruction processes. The sand play workshops were evaluated quantitatively in , but the results are not yet available.
It consists of 12 weekly sessions that are part of the regular school curriculum, run by an art therapist and a community worker in conjunction with the teacher.
The program is composed of three types of activities that always combine verbal and nonverbal means of expression drawing or painting a picture and telling a story , along with times for individual work and times when the children go back to their groups to listen or present their work.
The first activity is organized around myths, tales, or legends from different cultures. These stories are used to represent the tension and richness of multiplicity and to promote appreciation of nondominant traditions.
They are chosen for their themes, which can be specifically associated with migration or the transformation induced by traumatic experiences.
For example, the Japanese story about the origin of kites introduces a traditional strategy against nightmares. The stories become structuring metaphors that evoke both continuity, because they represent traditions that have withstood the vicissitudes of history, and flexibility, because they can be modified and played with by the children who, by illustrating and commenting on them, make them their own.
In the second activity, children are asked to tell the story of a character of their choice human or not who has been through a migration journey. They depict the past life at home before migration , the trip itself, the arrival in the host country, and the future. Typically children borrow elements from the first activity to support their stories.
This helps them to establish a time sequence.
During the last activity, the Memory Patchwork, the children bring in myths and tales from their families and communities, which thus represent their own identities more directly Rousseau et. The three most common types of stories are traditional tales from their homelands, historical accounts, and stories of family experiences.
This activity creates or reinforces a dialogue between children and their parents about positive aspects of their past, and helps bridge the gap between home and school by symbolically bringing the family into the classroom.
The quantitative assessment of the workshops done using a quasi-experimental design suggests that the program activities are associated with a significant decrease in both internalizing and externalizing symptoms and with a significant increase in self-esteem Rousseau et.
Playback theatre is a type of improvisational theatre that aims to achieve personal and social transformation through sharing a theatre experience within a ritual space Fox, The ultimate goal of our program is to facilitate the adjustment of newly arrived teens and help them work through their traumatic experiences in order to prevent behavioral and emotional difficulties that may be exacerbated by the migration and premigration context.
Within a safe and respectful atmosphere, a play director coordinates and contains the story reported by a youth as it unfolds, while actors and musicians gather the information in order to play the story back to the teller and the group.
The stories can be transformed and replayed through alternative scenarios developed by the participants. The idea is to alter the situation to empower the storyteller and the others, either by changing the meaning, building a relationship, or creating an opening or dialogue with others that was missing from the original story.
This part of the workshop becomes a collective effort, focusing on cocreating a story or situation where teens look for alternatives to their first reactions and strategies. The qualitative evaluation of the drama therapy workshops shows that their ritual nature provides a safe environment for adolescents to express themselves.
You Said it Your work with children was phenomenal. The workshops are incredible for teachers and families and were amazing to observe. We are so blessed that you were able to be with us for a week! I am still in awe over the depth of your work and your never-ending energy!
Susan McWilliams, Ph.
The impressive caricatures created by our students were displayed with pride throughout the school. Your presentation about a career in the arts left a lasting impression on many students who might have not realized the possibilities for their future. Thank you for sharing your gifts and talents with our communities. Thank you so much for sharing your gifts.