Abstract
There is nothing new about the utilization of the arts, generally speaking, as a method of facilitation. It is used not only in the context of the performing arts such as dance, drama and music, but particularly too in painting, sculpture, pottery, weaving, and a number of other art media and types. Yet all of these use a hands-on approach whereby it is expected of the participants to be active in the act of creation or performing. Of these, music stands out as an art form that can be used in a non-performance mode, and where a passive engagement with the completed work of art receives the focus. No such approach seems to have been suggested, described or developed for the visual arts. This study suggests and researches exactly that: the use of visual art works without involving a hands-on creative process, in a psycho-educational facilitative programme.
This process is described as an isomorphic identification with the work of art, and the research design has been characterised by the relative novelty of the suggested approach towards intervention and stress facilitation outlined in this thesis. Although the term isomorphic identification is not of uncommon usage, it appears only very rarely in literature, and then in context with very recent work only to be found on the Internet.
Undeniably, the occurrence of unhealthy stress levels in any population is on the increase. This research focuses on the way that stress impacts on the lives of young adults, particularly students, who share two common denominators; clearly identifiable unhealthy stress levels, and an academic background in which an art appreciation or an art history course was a part of their academic curriculum. The stated goal of this research is to design, develop and describe a method of stress management using the visual arts in a psycho-educational programme. The approach to this study is qualitative, with the research design being based on the single case study with an emphasis on the trustworthiness of research findings.
The explorative nature of this research is underlined as being extremely important, with the role of the researcher as central to this type of qualitative research emphasised at every stage of the research strategy. As an important characteristic of the psycho-educational nature of this research, approaches to theory construction and the evaluative research cycle are followed by a discussion on strategies to ensure trustworthiness, including an analysis of and discourse on ethical measures.
Obviously the major focus falls on the development, application, analysis, interpretation and evaluation of the programme for the facilitative use of the visual arts as an intervention procedure. Emphasis is put on the idea that art does in actual fact serve a number of purposes, and that the (visual) arts do not exist merely for the sake of existing. The argument is tendered that (visual) art can serve the function of personal homeostasis via a number of varieties of visual experiences according to which art could be experienced and interpreted.
The idea is advanced that art works contain a message that is embedded in the medium of the artwork, and that interactive participation through graded exposure should be deemed a cathartic experience of value to the participant. This in turn focuses attention on the narrative discourse made possible through the interactive viewing mentioned, which in turn could be used by the participants as a journey of discovery, which is part and parcel of the facilitation suggested.
The psycho-educational theoretical model for use within the visual arts is based on a hierarchical flow of events by way of a three-tiered four-phase approach that shares some characteristics with existing art historical models. As a programme, isomorphism as a strategy of facilitation fits well into a Post-modern paradigm, as it focuses on a holistic stress management programme designed to be of benefit for the participants.
Prof. C.P.H. Myburgh