“comprendiendo agencias y resistencias: niñ@s en situaciónes de violencias doméstica.”
TRANSCRIPT
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Jane Callaghan, Jo Alexander, Judith Sixsmith, Lisa FellinUniversity of Northampton
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Understanding Agency & Resistance StrategiChildren in Situations of Domestic Abuse (UN
Project aims:
To explore young peoples capacity for resistance, agency and in situations of domestic abuse
To enable an articulation of young peoples voice, in situations domestic abuse
To challenge dominant professional & academic representatioyoung people as damaged or as passive victims of domestic
To build an intervention for young people to facilitate the exprand development of agency and resistance, and to build resilie
To develop a training intervention for professionals working wipeople in situations of domestic abuse.
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Project Overview
Methods
Semi-structured, one-to-one interviews with children & young people Creative methodologies are used in conjunction with interview
Photovoice
Policy analysis conducted in each participating country
Focus groups with carers & professionals
Progress
Conducted 74 out of the 100 planned individual interviews
12 Focus groups with professionals, 5 with carers
Challenges
Recruitment of young people in some countries - dual parental consent required
Austerity Politics Statutory funding allocation - competition Vs collaboration
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What does the literature say?
all academic literature published between 2002 and 2013 focused on child
health, resilience and domestic abuse
183 articles were included in the review:
84 papers described psychopathological consequences of exposure to violenc
5 papers focused on damage to neural system
6 articles outlined other poor outcomes like educational difficulties, criminality
The term exposure appears in 85% of the articles included in the review
The term witness is used in 67% of the articles
77% of the articles described children as victims or as victimised
Intergenerational cycle of violence
Children as contaminants (e.g. Carrell and Hoekstra, 2009: Externalities in the CHow Children Exposed to Domestic Violence Affect Everyone's Kids)
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Mother blaming
Childs response to violence is seen as mediated
by the mothers pre-relational psychologicalfunctioning and her coping responses
Discursive construction Mothers experienceviolence, children watch
A significantly large number of children are
exposed to maternal addiction and mental illness,as well as interpersonal violence... Childrenwitness between 68% and 87% of all domesticviolence incidents, and are aware of violencetoward their mothers 90% of the time.
From Finkelstein et al, 2005: Building Resilience inChildren of Mothers Who Have Co-occurring Disorders and
Histories of Violence
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How does this translate into practice?
These constructions of the child have implications for professional and sodiscourses around children in situations of DV
They have implications too for how children are able to position themselcapacity to construct a self-identity as agentic, resistant, capable...
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UNARS
We want to explore childrens capacity to think and act to cope, to be cmanage, and to resist
Challenge dominant representations of children as passive witnesses
What are we finding?
The creative and complex coping responses young people use in situations of abuse
At odds with policy and professional discourses that position young people asvictims
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Why use creative methods?
Counter-hegemonic experience can be difficult to articulate verbally
Photo elicitation, drawing and other creative approaches enable articulacomplex self accounts that extend beyond the dominant categories of wand victim
Enables an articulation of spatial and systemic dynamics to enable con
of resilience and resistance as contextual and processual, not just individ
Enables young people to re-vision the world in which the violence took p
Enables the envisioning of alternative futures and alternative understandself-in-context
.
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Safe Disclosure and Risky Speech
Lucy: Id always hesitate of what I would say...even if I said Hello, Id always tlike, is he just going to shut me out? Is he going to respond in a nice way, or be aanything like that? Id always think ahead of what I was saying
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Production of sanitised narratives andrehearsed or therapeutised accounts George: Sometimes you dont want to
say stuff but you need to.Int: Does it help to talk or ?George: It helps because then youcan leave the past behind and youdont get in trouble and stuff.Int: Do you want to leave the past
behind?George: Yeah. ()Int: Why?George: Because you can start fresh
Int: What does it feel like when youremum
George: Nice
Int: Nice?
George: Yes
Int: Tell me a little bit more about nice
George: Its just nice.
Paul: You need to put it another way!
Int: How do you feel about yourself wwith you mum?
George: Happy
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Taken for grantedness
Ali: It just happens for everyone, like eating, everyone has to eat so whasame, whats the same with learning. You learn maths and science in here((referring to school)) so whats the difference about learning how to proyourself at home.
Unterhalter (2013) the limitation of voice in research with children
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Creative Methodologies
Family Configurations Inclusion & Exclusion
Draw your family
Double moon
Ecograms and systemic maps
Spaces Exploring the family home
Photovoice Imaging agency & resilience, photo elicitation & communit
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Family Configuration
Functionalities:
On a practical level- drawings of the family aid researcher understandingconfigurations & hierarchies from the childs perspective
Act as a shorthand during interview e.g. Children can refer to particularmembers
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Inclusion & Exclusion Absence of fathers in family drawings
Out of 13 family drawings 9 did not include afather. Of the 4 which included a father, 3 weretalked about or drawn in a negative light. Only 1child included a neutral representation of theirfather.
Oliver, 12 years old
Dylan, 15 years old
Sophia, 14 years old
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Self-Defining Family:Choosing relationships
Int: ...Josh, I notice you dont cDad.
Josh: No I dont call him Dad
Int: Did you ever call him Dad
Josh: erm not really, I just call(name), even at home when with him
Int: Why was that?
Josh: Because I dont want mythink hes my dad, cause hedont want a dad that hits m
Josh, 9 years old
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Self Defining Family When aspicture oJess reprperceivedivisions
Boundarcreation
Redefineincluding
Jess: Shfamily, bfamily, I sister becalways thshes bee
everythin(People
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Bethany
Refused to include father
Wont be pinned down to a close relationship
She is both central, and colounder a bright smiley sun
Brothers initial sad face (linfamily division, and his desifather) is re-drawn by her as
Le s?
Bethany, 10 years old
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Family Roles& Hierarchies
Int: Okay Nancy, so were herpicture of your family. To stayou tell me a little bit about y
Nancy: Im the youngest. I
scaredest.
Int: Youre the scaredest?
Nancy: ((smiles)) Im scareeverything
Int: Youre scared about
Nancy: (Nods), I love animfrom arguments so I donUmm.
Nancy, 10 years old
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Birth Order
Angels
Cheated Death
Alison: Im protecting my faalive, if I wasnt here, I couldcould I?
Used within the family to m
Confides in absent sisters:
Alison:For me, if I was closclosest to my two dead sisterthis is weird and all that, but
Alison, 15 years old
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Spaces Exploring the family home
Functionalities:
Drawings of the family home layout can generate rich data when used inconjunction with semi-structured interviews
Tells us how children experiencing DA use space within their immediate fhomes
Risky places Vs Safe places
Risky times Vs Safe times
What/who helps children to cope (Material, personal or relational)
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Josh- Identifies Living room
Bathroom as places of conf
Seeks safety & solitude in thShed:
Int: Was there anywhere you felt sa
Josh: In my bedroom, or I would haveshed
Int: What was it about those places tyou feel safe?
Josh: Because he didnt know really w
Josh, 9 years
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Rachel: ...sometimes wed gowhen they were fighting and Marcus on the rope swing andlay on the hammock and stuffthe net and go like fishing in t
stuff trying to catch the fish ((
_______________________________
Accesses place of safety prior observation:
Rachel, years
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Negotiatingunsafe
spaces
Int: When there was fightinon, where was it most likely tJess: Well when it would hap(older brother) it was always
bathroom, but with mum, it wbetween the kitchen, the garroomall downstairs basicaDownstairs was never safe ifabout because theyll be an aHed make an argument out argument, so downstairs was
power, I suppose.
____________________
Emma:...when I had friends rou
nothing would happen, he woultr an thin so...then when I d
Jess, 18 years
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Hideaways
Int: You know you said that when you go toyour dads and if theres fighting, you go to atight space, why a tight space?Nancy: That way they, they couldnt get to meInt: Who?Nancy: Everyone. It means like, they cantcome and start bothering me, which means Ifeel safer, which means when I feel calm, I go
back, ((.)) and being in a tight space it feels likepart of a game, like being in a cave
Int: Was there a particular spthat you felt safest?
Jess: Upstairs cupboardInt: Why did you feel safest
Jess: Because it was dark andoor behind all of it.
Lizzy: ...hed take her into the livingand sometimes I had to hide in a tinycupboard with little like piles of blankestuff in there and just hide in there andjust, there was a neighbour next door every time that he used to start I used out, I used to run over to the other peo
Int: Sowhen there was fightingwould you go to?...Rachel: My brothersroom.Int: You went to your brothersroRachel: Yeah, we used to h((jovial)) and stuff like that caden built and we used to hide in t
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Photovoice The Process
Following initial interview children are invited to take photos:
Telling us about their lives
How they cope & manage difficult circumstances & what helps
Participants are also invited to include text with their photos
Children & young people are asked to be mindful of their own & others prwhen taking photos and not to take identifiable pictures of people
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Dichotomous relational constructions
Nice Mums & Bad Dads
Int: What does it feel like when youre with your mum
George: Nice
Int: Nice?
George: Yes
Int: Tell me a little bit more about nice?
George: Its just nice.
Paul: You need to put it another way!
Int: How do you feel about yourself when youre with you mum?
George: Happy
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Escapism
Emma talks about walkhelps if I have a lot on myIm just over-thinking...I alone in the nature and nlistening to music. It giveminutes of thinking of nocalming down and lettingblow everything away
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Xbox
When physical escape isnt an option,escaping into other worlds :
George and Paul
Grand Theft Auto- A game reflective offathers lifestyle, but a space in whichthey are in control of the dangerousthings around them
Oliver - Xbox Lizzy Super Mario
h h h
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Catharsis? through Sport
Emma: So it would be fand gym right now and
get upset or angry I let oIm playing the sport, thme deal with things
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Music
First visit Oliver took Jo ouat drums
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Creative outlets
Int: ...when it was very difficult at home, was
there anything that made you feel better?
Emma: Drawing.
Int: Drawing?
Emma: Yeah.
Int:And what is it about drawing?
Emma: Its like, this is how I put it to my artteacher, its like letting out your emotions on abit of paper.
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Conclusions
Overwhelmingly the imagery and talk associated with children and domeviolence positions them as passive recipients of damage, and as consequpathologised.
Need for alternative ways of talking about children and young people thapositioning as agentic, resistant and resilient
Make space for young people to articulate their experiences and take poof their sense of agency and creative coping
Create space for positive framing of young people in situations of violencfuture for young people to populate
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Finding us
UNARS website www.unars.co.uk
Follow us on twitter: https://twitter.com/JaneEMCallaghan
Facebook: https://www.facebook.com/groups/428946693916205/?fref=
thats a really handy, memorable address)
http://www.unars.co.uk/https://twitter.com/JaneEMCallaghanhttps://www.facebook.com/groups/428946693916205/?fref=tshttps://www.facebook.com/groups/428946693916205/?fref=tshttps://twitter.com/JaneEMCallaghanhttps://twitter.com/JaneEMCallaghanhttp://www.unars.co.uk/http://www.unars.co.uk/