The noninvasive manner with children from many different creative expression workshops are also offered in main- stream classes of very multiethnic schools. The pro- gram is composed of three types of activities and always combines verbal and nonverbal means of expression drawing or painting a picture and telling or writing a Accepted June 27, Rousseau and Measham are child psychiatrists; Ms.
Singh and Ms. Bagilishya is a psychologist. Rousseau, Transcultural Child Psychiatry Team, cultures. The stories are chosen to DOI: For ex- tween home and school by introducing symbolically ample, the Russian tale of the princess frog and her two the family in the classroom. Most teachers hesitate to raise They propose a narrative structure, a set of emotionally charged subjects and may need external shared symbols and coping strategies, and a specific counseling or support to do so.
On the other hand, vision of time Bagilishya, Having been handed directly asking the children to talk about their past may down from generation to generation, they provide a act as a traumatic trigger for some newcomer children reassuring structure, yet they are malleable and flexible who feel obligated to comply fully with adult requests.
Thus the Creative workshops aim at providing a safe environ- workshop stories become structuring metaphors that ment for disclosure while not forcing it by allowing the evoke both continuity, as provided by tradition, and children the possibility to evoke indirectly their expe- flexibility as they can be modified and played with by rience through the use of metaphors.
Partial or total the children through drawing and discussion. On the other hand, constant of their choice who has been through a migration pro- awareness of the trauma may be unbearable, because cess.
They are asked to tell or draw about the past life the memory may be too emotionally overwhelming in the homeland before migration , the trip itself, the Rousseau et al.
The objective of this work is to arrival in the host country, and the future. When we introduced choose a nonhuman hero for their stories. She told a story sequence of the myth had a reassuring effect because it about a plant cutting looking for a place to grow.
The introduces the ideas of nontraumatic continuity. The metaphor of the plant temporal sequence. Children usually bring in one of three types of ined stories that they share. An important task of the stories: traditional tales, historical accounts, or stories group leader is to value this diversity, while not negat- about familial experiences.
This activity reinforces the ing some of the difficulties or misunderstandings that dialog between children and their parents about posi- this might entail. Children appreciate enormously tive aspects of their past and helps bridge the gap be- when their peers tell a story they brought from home, J. Children refugee camp before he could reunite with his father. In feel proud of their cultural heritage when it is presented his subsequent artwork he elaborated on his grief and in a way that does not ascribe to them folkloric patterns his quest for meaning.
He plistic and stereotypical representations of cultural began to take a leadership role in his group. They also feel There are three key elements that the clinician or the entitled to borrow elements from the different cultures school personnel should consider in building creative to which they belong and to assume fully their multiple workshops or in using creative modalities with immi- cultural identities.
First, always pair a non- verbal means of expression appropriate to the Establishing Continuity developmental level of the children with a means for verbal expression. The creative workshops described The work around myth provides children who have here for 8- to year-olds have been adapted by our great trouble representing the past, their migration, and team to other age groups using other creative modali- the dilemma of belonging to two cultures with a frame- ties.
We have found that sand play has been the most work for expressing and sharing their experience. Tales amenable modality for our creative expression work- from various traditions, although they cannot replace shops for kindergarten-age children, drawing and sto- stories made up by children using their imaginations, rytelling for school-age children, and drama for high make it easier for children to represent their concerns school-age students. The creative expression workshops in a less threatening manner.
They pave the way for have also been implemented in classes for learning- their own original representations by suggesting and disabled children. Log in. Install the app. JavaScript is disabled. For a better experience, please enable JavaScript in your browser before proceeding.
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