IDST 47 - Trauma And The Arts - Stage 4 - Lauren Muller
Assessment
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| Assessment Description | * Added questions on the aesthetics and history of trauma to two tests on the emerging field of trauma studies. * assigned journal entries and in-class short responses on index cards to analyze visual art in the context ofspecific historical events including the Vietnam War, the holocaust, the Black Arts Movement, and the Wounded Knee Massacre * Journal entries, presentation, and final paper in which students evaluate works of art as to how they transform horror through the creative process- elements ofwriting-symbolism and figurative language-- in writings by Tim O'Brien, Wendy Rose, Leslie Silko, and Ntozake Shange, or the study of Blues music in relation to trauma, healing, and resilience |
| Learning Outcomes | All, with a special focus on the historic and aesthetic qualities of trauma |
| Number of Sections | 1 |
| Number of Instructors | 1 |
| Number of Students | 27 |
Data Analysis
| Data Shared With | Faculty and staff from related programs/departments |
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| Data Sharing Methods |
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| Data Summary | 30% students entered the class with a strong sense of aesthetic terms, and about 20% enter the class with a strong sense of history. No students had combined a study of the historical and aesthetic dimensions of Truama. By the end of the term, all but one of the students who completed the course (27 of the original 32) could identify, analyze, compare and contrast aesthetic and historical dimensions of trauma. Furthermore, they could use the study of artistic and historical responses to racial truama to critique blind spots in the central text. Furthermore they could apply this knowledge to critically assess Judith Herman's psychological and historical text, Trauma and Recovery. All of the students researched, gave presentations, and provided resources on on art therapies that relate to trauma and healnig |
| Analysis Summary | Every class began with an in-class journal writing prompt and ended with an in-class drawing. Every homework assignment also involved journal responses. At least once a week, students engaged both the aesthetic and historical aspects of trauma via written journal responses, short research projects, or imitation of well-known works of art. Although some students responded in more depth, every student demonstrated the ability to 1) identify aesthetic components of works of literature, film, dance, and music that bear witness to trauma 2) identify the social function of art in relation to the "forgotten histories" of trauma on a personal, societal, and institutioal level 3)apply psychological concepts from Judith Herman's text "Trauma and Recovery" to the transformative power of art as a healing modality for both individuals and communitieso |
| Next Steps Planned | I found it very useful to frame issues in the class in relation to the historical and aesthetic dimensions fo Trauma. This semester, I will continue to highlight that more clearly in my syllabus. I think that frame also helped students to better understand the place of this course in the Certificate. (fall 2013) Over the past three semesters, I've received reports from students researching resources linking art and healing from Trauma. I would like to compile these into a database that is available to all of the Trauma instructors. (christmas break 2013, or with work study student winter 2013) The next time the outline is updated, I would like to include recent research on trauma and education, and to consider the uses of art therapies in programs for youth workers. |
| Learning Outcomes | A. Discussthe emerging field oftrauma studies. B. Analyze visual art in the context ofspecific historical eventssuch as Guemica, World War II and 9-11. C. Evaluate works ofart asto how they transform horror through the creative process-use ofsymbolism and myth-and in terms ofbuilding community D. Compare and contrast literary works such as PaperAngels by Genny Lim and poetry by Wendy Rose and Maurice Kenny in terms ofthe elements of writing-symbolism and figurative language-- and thematic contentrelated to ongoing trauma such as racial oppression. E. Identify specific pieces ofmusic both past and present and analyze how they help people heal in times ofgreat need. F. Analyze personal testimony in terms ofcoping mechanisms, returning to CCSF IDST 47 Trauma and the Arts, 2/06 Page 1 of4"ordinary" life and as ways ofbuilding community for those isolated and in distress after natural and man-made disasters. |
Changes
| Details | I addressed the historic or aesthetic elements of trauma every week. This frame provided useful scaffolding for the course -- even though the syllabus is organized thematically rather than chronologically in that it follows the structure of Judith Herman's text. |
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| Learning Outcomes | ALL |
Tentative Future Plans
| Term | Fall 2013 |
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| Activities | Analysis and discussion of assessment data and next steps |
| More Details | - include a short, but open-ended assessment that asks students to identify what they have learned about the historical and aesthetic aspects of trauma. - include an assessment that asks students to link aesthetic responses to trauma to self-care, particularly when the material might be triggering. |
SLO Details Storage Location
- HARD COPY - In my personal filing system (my office)
- HARD COPY - In a department filing system (department office)
- ELECTRONIC COPY - In my electronic filing system (hard drive or web server)