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All About Mentoring Spring 2011 - SUNY Empire State College

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3<br />

Imagination and Art: Children Cope with War<br />

Judith Gerardi, Metropolitan Center and Center for International Programs<br />

Childhood and warfare symbolize<br />

opposing ends of life experience.<br />

We cringe when the two occur<br />

together, as they increasingly do. Bewildered<br />

children make efforts to lead a child’s life as<br />

they are faced with militia attacks, bombs,<br />

deportations, and continuing loss and<br />

change. Powerless adults make efforts to<br />

protect children and to see them as having<br />

a normal future, actively pursuing those<br />

goals in the midst of war, deprivation, and<br />

continued threat and likely death. While<br />

children often weather armed conflict<br />

remarkably well, it is not without worry,<br />

terror, frightening thoughts, and uncertainty<br />

about their future. Who are these children<br />

and how can we understand their experience<br />

and psychological reality How do they<br />

psychologically cope with living in a war<br />

zone Both surviving victims and those who<br />

perished report to us through their diaries,<br />

essays and drawings. This paper addresses<br />

their drawings, a means for self expression<br />

and, often, coping with extreme danger.<br />

In their drawings, children express<br />

themselves nonverbally in ways that often<br />

are more natural for them than are words.<br />

They enter their inner world as they draw<br />

and can usually achieve a level of truth<br />

that reflects their reality. Further, since the<br />

communication does not rely on a particular<br />

language, the child’s voice can speak to<br />

any viewer. While individual and cultural<br />

meanings cannot be interpreted from the<br />

drawing alone, the child’s primary reality<br />

as presented in the drawing is usually clear.<br />

Freed from the limitations of language, we<br />

can read children’s drawings to learn about<br />

a shared experience of events that may be<br />

separated by time and location. War is such<br />

an event.<br />

An important aspect of healthy<br />

psychological development is free<br />

exploration of the actual environment<br />

and the one beyond it, the imagined or<br />

hypothetical environment of fantasy.<br />

Both exploration of day-to-day life and<br />

of the imagined world of fantasy are<br />

compromised during extreme threat,<br />

including war. Danger restricts physical<br />

exploration of the actual environment. It<br />

also can restrict mental exploration of the<br />

imagined environment. Imagination often<br />

fails to contribute to healthy psychological<br />

coping when the individual’s psychological<br />

energy is focused on survival and cannot<br />

offer an emotional release or a means of<br />

creating mental solutions to the chaos of<br />

bombardment, deprivation and loss. Instead,<br />

fantasy becomes restricted, dominated by<br />

efforts to psychologically tolerate extreme<br />

physical and emotional upheaval. In<br />

effect, imagination gets stuck, unable to<br />

satisfactorily aid ego development.<br />

Yet imagination also has the potential to<br />

retain its role in healthy mental exploration,<br />

the focus of this paper. The use of<br />

imagination operates in two interrelated<br />

ways in relation to compensating for<br />

the restricted physical exploration of the<br />

child’s environment that is associated<br />

with life in a war zone. First, it allows self<br />

expression. The child can create a world<br />

that he controls, one in which he can find<br />

emotional release, take on new and different<br />

roles, and express his innermost reactions<br />

and thoughts. Second, for some children,<br />

imagination allows mental exploration that<br />

begins to address psychological coping.<br />

Self Expression<br />

The first way in which imagination provides<br />

an antidote to restrictions of place brings<br />

the child beyond the miserable, limiting,<br />

dangerous world of war so that he can<br />

create the world that he needs. In that<br />

world, he can freely engage in mental<br />

exploration of his observations and<br />

thoughts. The child finds that he can create<br />

and occupy a visual representation of his<br />

psychological reality. Against a background<br />

of group suffering and powerlessness,<br />

imagination provides affirmation in the form<br />

of recognition of the child artist’s individual<br />

being. This first way in which imagination<br />

operates during war, then, is centered on self<br />

expression. It facilitates emotional release<br />

and the preservation of the child’s sense of<br />

individuality.<br />

Mental Exploration<br />

The second way in which imagination<br />

provides an antidote to restrictions of<br />

place, psychological coping through mental<br />

exploration, allows the child to entertain<br />

solutions in fantasy that are not possible<br />

to her in the real world. This possibility is<br />

severely restricted by the physical danger<br />

and emotional tension of war, which<br />

threaten the typical ways that children’s<br />

imaginations serve their psychological<br />

well-being and mental life. However, when<br />

imagination continues to operate more<br />

freely, it can provide an alternative to the<br />

reality of war. The child can continue to<br />

explore possibilities in her imagination<br />

that are unavailable in the danger of a war<br />

zone. I will give examples of drawings that<br />

illustrate these points.<br />

Children’s Psychological Experience<br />

of War: The Drawings<br />

The drawings presented and discussed in this<br />

paper were created by children aged 6 to 14<br />

during four different wars spanning close<br />

to 70 years, from the Spanish Civil War<br />

(1936-1939) to Darfur (2003-2010), thus<br />

representing different time periods, regions<br />

and world cultures. They show disturbing<br />

similarities, including portrayals of<br />

explosions, destroyed structures, mutilated<br />

and dead people, family, dislocation, and<br />

monsters. They show the mayhem of<br />

attempting to escape the assaults. This is<br />

what children see, and it continues. I believe<br />

that you will be struck by the common<br />

experience visually reported by these<br />

children. The drawings selected for this<br />

paper were placed in five groups: transition<br />

suny empire state college • all about mentoring • issue 39 • spring <strong>2011</strong>

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