{"id":{"repo_id":"auckland-ms","oai_identifier":"oai:researchspace.auckland.ac.nz:2292/28871"},"canonical_url":"https://search.dev.ndltd.org/etd/auckland-ms/oai:researchspace.auckland.ac.nz:2292/28871","repository":{"repo_id":"auckland-ms","name":"University of Auckland","base_url":"https://researchspace.auckland.ac.nz/server/oai/request"},"display":{"title":"Quake destruction / arts creation: arts therapy & the Canterbury earthquakes","abstract":"This arts-based inquiry explores my experiences as beginning arts therapist during the Canterbury, New Zealand, earthquakes from 2010 to 2014. At the heart of these experiences lies my challenging dual-role as both quake-survivor and therapist – I was betwixt-and-between quake-destruction and arts-creation. I aimed to make sens/e of this in ways that may be useful to applied-arts practitioners working in similar contexts. My sens/e-making quest blended autoethnography, a/r/tography and arts therapy-as-research. This braided-methodology created a multi-faceted process: I adopted Victor Turner’s concept of liminality as my central metaphor to give theoretical and aesthetic containment. Liminality resonated with my earthquake experiences, my practice-as-therapist and this arts-based research. I teased-open the term sens/e. I used my physical-senses to generate embodiment. I befriended my implicit felt-sense and evoked my soul-sense. Drawing on the French sens for direction, I embraced therapy and research as creating life-forward direction. And I used these sens/ual processes to make meaning and render new knowledge. I created mixed-modal artworks to explore my memories, writings, artworks and photographs as quake-survivor/therapist. I opened reflexive conversations between my creations and texts addressing arts-based research, trauma, liminality, and therapy. I enacted this study via three roles inspired by Rita Irwin’s a/r/tography: As artist, I created art using my quake-arts therapy-process of ‘dropping-in’ which splices Laury Rappaport’s Focusing-Orientated Art Therapy with Shaun McNiff’s images-as-angels process. These creations expressed who I perceived I was, who I currently am, and who I am becoming as artist/researcher/therapist. As researcher, I followed McNiff’s suggestion to craft correspondence between my research process and practice of therapy. My dropping-in process, when combined with autoethnographic a/r/tography, provided a practical way to generate, gather and analyse research material. As therapist, I discovered – via personal experience of wounding/healing, and hands-on implementation of therapy for others suffering – my quake-work had stumbled upon several notions congruent with current intersubjective and embodied arts- and trauma-therapy, exemplified in Stephen Levine’s poietic approach. The outcome is an arts-rich multi-vocal layered-account containing emergent findings regarding: post-postmodern both-and-and…soul-based arts therapy and research approaches applicable to contexts of enduring liminality, in which imagical play invites new order to emerge from chaos, healing is reclaimed within the wounded/healer archetype, and internal communitas becomes a figural intention of trauma-transformation.","abstract_html":"This arts-based inquiry explores my experiences as beginning arts therapist during the Canterbury, New Zealand, earthquakes from 2010 to 2014. At the heart of these experiences lies my challenging dual-role as both quake-survivor and therapist – I was betwixt-and-between quake-destruction and arts-creation. I aimed to make sens/e of this in ways that may be useful to applied-arts practitioners working in similar contexts. My sens/e-making quest blended autoethnography, a/r/tography and arts therapy-as-research. This braided-methodology created a multi-faceted process: I adopted Victor Turner’s concept of liminality as my central metaphor to give theoretical and aesthetic containment. Liminality resonated with my earthquake experiences, my practice-as-therapist and this arts-based research. I teased-open the term sens/e. I used my physical-senses to generate embodiment. I befriended my implicit felt-sense and evoked my soul-sense. Drawing on the French sens for direction, I embraced therapy and research as creating life-forward direction. And I used these sens/ual processes to make meaning and render new knowledge. I created mixed-modal artworks to explore my memories, writings, artworks and photographs as quake-survivor/therapist. I opened reflexive conversations between my creations and texts addressing arts-based research, trauma, liminality, and therapy. I enacted this study via three roles inspired by Rita Irwin’s a/r/tography: As artist, I created art using my quake-arts therapy-process of ‘dropping-in’ which splices Laury Rappaport’s Focusing-Orientated Art Therapy with Shaun McNiff’s images-as-angels process. These creations expressed who I perceived I was, who I currently am, and who I am becoming as artist/researcher/therapist. As researcher, I followed McNiff’s suggestion to craft correspondence between my research process and practice of therapy. My dropping-in process, when combined with autoethnographic a/r/tography, provided a practical way to generate, gather and analyse research material. As therapist, I discovered – via personal experience of wounding/healing, and hands-on implementation of therapy for others suffering – my quake-work had stumbled upon several notions congruent with current intersubjective and embodied arts- and trauma-therapy, exemplified in Stephen Levine’s poietic approach. The outcome is an arts-rich multi-vocal layered-account containing emergent findings regarding: post-postmodern both-and-and…soul-based arts therapy and research approaches applicable to contexts of enduring liminality, in which imagical play invites new order to emerge from chaos, healing is reclaimed within the wounded/healer archetype, and internal communitas becomes a figural intention of trauma-transformation.","abstract_has_math":false,"creators":["Green, Deborah"],"institution":"ResearchSpace@Auckland","degree_name":"PhD","degree_level":"Doctoral","degree_discipline":"Education","degree_department":null,"school":null,"contributors":[],"advisors":["O'Connor, P","Adamson, C"],"committee_chairs":[],"committee_members":[],"year":2016,"date_issued":"2016","date_published":"2016","updated_at":"2026-07-24T01:04:52Z","subjects":[],"languages":[],"rights":["Items in ResearchSpace are protected by copyright, with all rights reserved, unless otherwise indicated. 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My sens/e-making quest blended autoethnography, a/r/tography and arts therapy-as-research. This braided-methodology created a multi-faceted process: I adopted Victor Turner’s concept of liminality as my central metaphor to give theoretical and aesthetic containment. Liminality resonated with my earthquake experiences, my practice-as-therapist and this arts-based research. I teased-open the term sens/e. I used my physical-senses to generate embodiment. I befriended my implicit felt-sense and evoked my soul-sense. Drawing on the French sens for direction, I embraced therapy and research as creating life-forward direction. And I used these sens/ual processes to make meaning and render new knowledge. I created mixed-modal artworks to explore my memories, writings, artworks and photographs as quake-survivor/therapist. I opened reflexive conversations between my creations and texts addressing arts-based research, trauma, liminality, and therapy. I enacted this study via three roles inspired by Rita Irwin’s a/r/tography: As artist, I created art using my quake-arts therapy-process of ‘dropping-in’ which splices Laury Rappaport’s Focusing-Orientated Art Therapy with Shaun McNiff’s images-as-angels process. These creations expressed who I perceived I was, who I currently am, and who I am becoming as artist/researcher/therapist. As researcher, I followed McNiff’s suggestion to craft correspondence between my research process and practice of therapy. My dropping-in process, when combined with autoethnographic a/r/tography, provided a practical way to generate, gather and analyse research material. As therapist, I discovered – via personal experience of wounding/healing, and hands-on implementation of therapy for others suffering – my quake-work had stumbled upon several notions congruent with current intersubjective and embodied arts- and trauma-therapy, exemplified in Stephen Levine’s poietic approach. The outcome is an arts-rich multi-vocal layered-account containing emergent findings regarding: post-postmodern both-and-and…soul-based arts therapy and research approaches applicable to contexts of enduring liminality, in which imagical play invites new order to emerge from chaos, healing is reclaimed within the wounded/healer archetype, and internal communitas becomes a figural intention of trauma-transformation."]},{"key":"dc:title","label":"Title","values":["Quake destruction / arts creation: arts therapy & the Canterbury earthquakes"]}]}],"canonical_facts":{"dc:contributor.advisor":["O'Connor, P","Adamson, C"],"dc:creator":["Green, Deborah"],"dc:date.accessioned":["2016-05-19T22:01:59Z"],"dc:date.issued":["2016"],"dc:description.abstract":["This arts-based inquiry explores my experiences as beginning arts therapist during the Canterbury, New Zealand, earthquakes from 2010 to 2014. At the heart of these experiences lies my challenging dual-role as both quake-survivor and therapist – I was betwixt-and-between quake-destruction and arts-creation. I aimed to make sens/e of this in ways that may be useful to applied-arts practitioners working in similar contexts. My sens/e-making quest blended autoethnography, a/r/tography and arts therapy-as-research. This braided-methodology created a multi-faceted process: I adopted Victor Turner’s concept of liminality as my central metaphor to give theoretical and aesthetic containment. Liminality resonated with my earthquake experiences, my practice-as-therapist and this arts-based research. I teased-open the term sens/e. I used my physical-senses to generate embodiment. I befriended my implicit felt-sense and evoked my soul-sense. Drawing on the French sens for direction, I embraced therapy and research as creating life-forward direction. And I used these sens/ual processes to make meaning and render new knowledge. I created mixed-modal artworks to explore my memories, writings, artworks and photographs as quake-survivor/therapist. I opened reflexive conversations between my creations and texts addressing arts-based research, trauma, liminality, and therapy. I enacted this study via three roles inspired by Rita Irwin’s a/r/tography: As artist, I created art using my quake-arts therapy-process of ‘dropping-in’ which splices Laury Rappaport’s Focusing-Orientated Art Therapy with Shaun McNiff’s images-as-angels process. These creations expressed who I perceived I was, who I currently am, and who I am becoming as artist/researcher/therapist. As researcher, I followed McNiff’s suggestion to craft correspondence between my research process and practice of therapy. My dropping-in process, when combined with autoethnographic a/r/tography, provided a practical way to generate, gather and analyse research material. As therapist, I discovered – via personal experience of wounding/healing, and hands-on implementation of therapy for others suffering – my quake-work had stumbled upon several notions congruent with current intersubjective and embodied arts- and trauma-therapy, exemplified in Stephen Levine’s poietic approach. The outcome is an arts-rich multi-vocal layered-account containing emergent findings regarding: post-postmodern both-and-and…soul-based arts therapy and research approaches applicable to contexts of enduring liminality, in which imagical play invites new order to emerge from chaos, healing is reclaimed within the wounded/healer archetype, and internal communitas becomes a figural intention of trauma-transformation."],"dc:identifier.uri":["https://hdl.handle.net/2292/28871"],"dc:publisher":["ResearchSpace@Auckland"],"dc:relation.isreferencedby":["UoA99264865413902091"],"dc:rights":["Items in ResearchSpace are protected by copyright, with all rights reserved, unless otherwise indicated. Previously published items are made available in accordance with the copyright policy of the publisher."],"dc:rights.uri":["https://researchspace.auckland.ac.nz/docs/uoa-docs/rights.htm"],"dc:title":["Quake destruction / arts creation: arts therapy & the Canterbury earthquakes"],"dc:type":["Thesis"],"thesis:degree_discipline":["Education"],"thesis:degree_level":["Doctoral"],"thesis:degree_name":["PhD"],"thesis:institution_name":["The University of Auckland"]},"updated_at":"2026-07-24T01:04:52Z"}