Skip to main content

 

The Healing Power of the Arts


The Arts are usually valued as aesthetic objects, music, dance or theatrical performances - symbols of the culture of a nation.  Less explored is the transformative emotional and intellectual process experienced  by those creating  works of art and crafts.  

People are fascinated to watch artists and artisans transform ordinary materials into beautiful paintings, woven baskets, or compose music from a few simple notes.  Alfred Gell called this fascination “the magic of technology and the technology of magic”. Over the years, Psychologists have proposed various theories to decode the mystery of the creative process.

Creativity appears to be a human activity like no other.  A potter sitting at the wheel seems to be in a trance like state of total concentration, as a lump of soggy clay transforms beneath his hands, into a perfectly symmetrical vase.  Most artists, writers, composers and poets will recognize being lost in the act of creation, unaware of time or their surroundings.  While this complete absorption appears anti-social, there is a general agreement that creativity is a positive activity.

This led to investigations into the healing nature of the creative process. In the 1940s, Margaret Naumburg, considered a pioneer in Art Therapy, found creativity unlocked suppressed emotions and thoughts, allowing healing to take place.  Today it has become an integral part of modern medical treatment.

Concluding that many health issues are related to lifestyle, Social Prescribing, as it is now called, is recommended by doctors for some patients to access a wide range of non-clinical therapies from art to gardening, sports and community activities. Post-operative patients exposed to music and visual arts require less medication and recover faster. In 2008, the British Health Policy called for participatory arts to be part of the mainstream in health and social care.

When dealing with bereavement, social exclusion, anxiety, stress, or even aging,   many turn to music, poetry or art. André  Breton, co-founder of the Surrealist Art movement,  cared for injured and traumatized soldiers in WWI, leading to his interest in the workings of the subconscious. He wrote in the First Manifesto of Surrealism, 1924,‘Our brains are dulled by the incurable mania of wanting to make the unknown known’.

 The creative process requires concentration and focus, giving temporary respite from other problems. Its lasting positive effects include self-confidence, developing trust, empathy, mental clarity, the ability to communicate emotion through concrete metaphors, bringing up deep emotions to the conscious mind, and learning to regulate emotional responses. Existing ideas are dismantled and rebuilt with new meanings, altering the way we think, see ourselves and the world around us.  This leads to a sense of empowerment and well-being. 

Sikander Jogi’s art students at Karachi Central Jail, learnt to symbolize their imprisonment and desire for freedom with images from nature that lay beyond the prison walls. Many hardened criminals not only developed a calmness, but some continued to make art after their release.

Rural communities understand the healing power of creativity. After a 16 hour work day, women sit together to embroider and weave, sharing stories of the day. Artisan families make baskets collectively, fashion water vessels or weave charpai beds. The Hashri grass cutting rituals of Mansehra are accompanied by music and dance. Festivals are held at the beginning and end of the arduous growing seasons.  Urban communities such as The Piecemakers’s Guild of Karachi, meet every two weeks to share their creative quilting. On line craft communities like Etsy, are growing in popularity.

The purpose of healing through creativity is not to make a beautiful art work, but as Nikki Rowe says, “Art is my cure to all this madness, sadness and loss of belonging in the world and through it I'll walk myself home.”

 

Durriya Kazi

October 17, 2020

durriyakazi1918@gmail.com

 

 

 

 

Comments

Popular posts from this blog

https://theconversation.com/at-once-silent-and-eloquent-a-glimpse-of-pakistani-visual-poetry-70544 ‘At once silent and eloquent’: a glimpse of Pakistani visual poetry February 13, 2017 6.55pm AEDT Author Durriya Kazi Head of department Visual Studies, University of Karachi Disclosure statement Durriya Kazi does not work for, consult, own shares in or receive funding from any company or organisation that would benefit from this article, and has disclosed no relevant affiliations beyond the academic appointment above. Partners View all partners Republish this article Republish our articles for free, online or in print, under Creative Commons licence. Rickshaw poetry in Pakistan.  D.Kazi ,  CC BY-NC-ND   Email   Twitter 33   Facebook 239   LinkedIn 1  Print Whose mischief created a world of beseechers? Each petitioner is seen wearing a garment of paper This line from the famous Mughul poet  Ghalib  refers to what he claimed to be ancient Per
Art and the Swadeshi Movement In my quest to discover the origins of the exquisite tiles in my aunts’ home in Karachi’s old Amil Colony, I stumbled upon a whole new dimension of the Swadeshi, and later Swaraj, movement, an important rallying point for the Freedom Movement. Swaraj is commonly identified with Non-cooperation, Civil Disobedience, and political rallies. Behind the public bonfires of European cloth, manufacturers, designers, artists, poets and journalists quietly built factories, established presses, redesigned art school curricula that not only spread the spirit of revolution across India but ensured there were locally produced alternatives. Jamshed Nusserwanji established Bharat Tiles with Pheroze Sidhwa in 1922 in Bombay with a manufacturing branch in Karachi, as his swadeshi contribution, saying “India needs both economic and political independence”.     Developing a new process using coloured cements, the exquisite tiles we see in all heritage buildings i
  Fearless Gazelles of Islam Nusaybah bint Ka`b, seeing the Prophet ( PBUH) unprotected during the Battle of Uhud, ran to shield him with her sword alongside her husband and son. She received many wounds, and the Prophet himself (PBUH) said, wherever he turned, whether to the right or to the left, he saw her defending him. She was present at a number of battles, and at the age of 60 fought at Al-Yamamah, receiving 11 wounds, also losing her hand. When Khawla bint al-Azwar’s brother was taken captive by the Byzantines, she put on armour and charged into the Byzantine troops to rescue him. Taken captive at the Battle of Marj al Saffar, she fended off the Byzantines with a tentpole, killing seven. Muslim women were an important part of every battle rallying their men, or tending to the wounded, sometimes taking up arms or composing taunting poetry. Ghazala al-Haruriyya called out to the fleeing Umayyad General “You are a lion against me but were made into an ostrich which spreads it