Ethical Dilemmas in Expressive Arts Therapy Research

From an Expressive Arts Therapy perspective, social research works to evoke meaning in an embodied, intuitive, and emotive manner through visual arts, music, dance, performance, creative writing, and poetry. Although extensive literature describes the content and form of arts-based social research, the domain of ethics has been under-theorized and rarely addressed (Knowels & Cole, 2008). Moreover, it is crucial to integrate ongoing ethical considerations within the research process instead of a precursory step before project approval (White & Belliveau, 2010). Thus, it is necessary for us to develop a deep awareness of emergent ethical constructs within research.

This article aims to illuminate ethical dilemmas in social research through the lens of Expressive Arts Therapy.

Ownership and attribution are prominent concerns in expressive arts-based social research as data is not concrete but rather an integral part of the process and product. Hence, there is some uncertainty surrounding the practices relevant to collaboration in art genres. In certain instances, ethical agreements are created to address the practical issues of ownership, presentation, dissemination, and sharing. According to Boydell, Volpe, Cox & Brunger (2012), participants reported that the individual engaging with the art should hold rights over the creative piece. Other studies highlight the need for collective credit while acknowledging individual contributions (Radford, 2020). Generally, one must contemplate strategies to ensure inclusion, honesty, and contribution at the outset of the research (Baden &Wimpenny, 2014).

Materials and media can also have a deep impact on a client. For example, given their uncontrollable nature, watercolors can elicit intense emotions (Malchiodi, 1997), or through its malleable properties, clay may facilitate the expression of anger (Sherwood, 2004). It is paramount to explore the consent of participants in using the researcher’s material and media and be cognizant of the influence of myriad materials on a client’s emotions (Green, 2012). As art can invoke multiplicity and nuance of complex experiences, it is essential to understand the risks of misinterpretation. Although some degree of interpretation may be unavoidable, an ethical outlook involving ‘humility and awe’ instead of ‘authority and omniscience’ is required (McNiff, 2004, p. 78). It is also important to clarify roles and instill autonomy within the varied research relationships. Additionally, recognizing the intrinsically fluid quality of creative processes and the dilemmas that may accompany them is necessary, for example, conflicts specific to the research questions’ intended messaging.

Traditional academic research uses informed consent and confidentiality to secure the identity of the research participants. However, there is ambiguity regarding this in Expressive Arts Therapy research as consent may not be comprehensive and can vary across cultures and contexts. One may not be inconspicuous for various reasons: the challenge of preserving artistic and expressive aspects while ensuring anonymity or instances of explicit co- authorship. Furthermore, the research objectives of stigma reduction through advocacy can be in conflict with the ethical considerations of confidentiality. Thus, the assurance of anonymity and confidentiality needs to be provided within the specific context of the research to address this contention. Deliberations regarding these issues require the inclusion of the academic, artistic community, and the participants (Hodgins and Boydell, 2014).

As engagement with expressive arts modalities allows for immersion of our senses and assimilation of cognitive, somatic, and emotional domains, there is a possibility of unknown emotional risks emerging from the process. Therefore, it is the researcher’s ethical responsibility to give participants prior information about the potential for distress. Besides, it is critical to have a plan to respond to participants needing support (Boydell et al., 2012). This can include obtaining supervision, therapeutic resources for the client, as well as a critical reflection of the influence of the research methodology on the client’s mental health.

There is a crucial conversation around the artistic and research components of creative arts research. For instance, excessive importance towards research findings may compromise the artistic quality of a study. Alternatively, if researchers operate solely from the lens of a superficial perception of expressive arts therapy, they may disrupt the legitimacy of the profession by not upholding a strong commitment toward the art and research elements. So, a delicate balance of research and artistic components is required.

Interestingly, Hodgins & Boydell (2014) equate this balance with the metaphor of a river: “The artistic and emotive aspects of the artwork or performance are like water, carrying the observer and directing their sentiment. But it is necessary for the audience to have solid ground to avoid getting “carried away” by the artwork. The factual aspects or data that the performance or artwork is based on are rocks for people to rest on and take stock of to fully appreciate what they are experiencing” (p. 10).

Social research in Expressive Arts Therapy may also face a dilemma using fluid and free artistic methodologies to elicit structured data. A study by Blaisdell, Arnott, Wall, and Robinson (2018) points to the inherent reliance of arts-based researchers towards the security of the voice. Verbal utterances may often be categorized as an individual’s ‘authentic voice’. This emphasis on the voice perpetuates the idea of an articulate participant, which is marginalizing. So, despite intentions of openness and autonomy, creative arts-based methods can be as ethically ambiguous and challenging as other methodologies. There is a necessity to adopt a holistic framework for eliciting voices that is responsive, gradual, and sensitive. It is also demanding to navigate the translation of collaborative, expressive work to academic journals as the writing process involves creativity, discovery, meaning-making rather than a mere transcription of what happened. In addition, power and privilege also play a profound role as time, energy, and knowledge is extracted from communities to serve a researcher’s righteous interpretation (Radford, 2020). There is a need for inclusivity in the presentation of findings by incorporating creative pieces that allow ‘the other to be seen and known in a variety of ways’ and ‘defy concretization and domestication’ (Goto 2018, p. 157).The research must express an authentic awareness of the lived experiences of the participants. Given the unsettling and uncertain nature of the research process, there should be an open mind for evoking insights in unchartered territories and some comfort in the discomfort of the unknown.

Research in Expressive Arts Therapy can exhibit tensions in what to authentically represent and the artistic impulse towards aesthetic creation, especially in projects where arts-based methodologies of disseminating findings are used (Cox and Boydell, 2018). A reflexive approach towards representation involving ‘relational aesthetics’ should be considered. Relational aesthetics (Bourriaud, 2002) is the idea of perceiving art processes in a social and interactive context instead of in an independent capacity. This can aid in establishing openings for continuous discourse and co-construction of data.

Overall, this article primarily highlighted ethical dilemmas specific to ownership, attribution, anonymity, confidentiality, consent, representation, and aesthetics. An ethical execution of creative-arts-based research creates the opportunity for distinctive contributions to a broader context of human understanding. This also helps researchers diversify their investigations via expressive modalities. An insightful approach to ethical dilemmas can help evolve creative research practices for collaborative work and enable arts-related research to thrive as a work of art and a work of research.

Interpersonal reflexivity and mindful consciousness of power, integrity, and authenticity are essential to conducting ethical and participatory research. Embracing the uncertainty, vulnerability, and varied ways of knowing helps find beauty in the embodied and the everyday.

References

Baden, M. S., & Wimpenny, K. (2014). A practical guide to arts-related research. Springer.

Blaisdell, C., Arnott, L., Wall, K., & Robinson, C. (2018). Look who’s talking: Using creative, playful arts-based methods in research with young children. Journal of Early Childhood Research, 17(1), 14–31. doi:10.1177/1476718x18808816

Bourriaud, N. (2002). Relational Aesthetics. Paris: Presses du Reel.

Boydell, K., Volpe, T., Cox, S. M., & Brunger, F. (2012). Ethical Challenges in Arts-based Health Research. Retrieved from https://www.researchgate.net/publication/265042212_Ethical_Challenges_in_Arts- based_Health_Research

Cox, S.M., & Boydell K.M., (2018). Ethical issues in arts-based health research. In Clift, S., & Camic, P. M. Oxford textbook of creative arts, health, and wellbeing: International perspectives on practice, policy and research (pp. 83–89). Oxford University Press.

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Knowles, J.G. and Cole, A.L. (eds) (2008). Handbook of the Arts in Qualitative Research: Perspectives, Methodologies, Exemplars, and Issues. Thousand Oaks, CA: Sage.

Malchiodi, C. A. (1997). Breaking the silence: Art therapy with children from violent homes (2nd ed.). Florence, KY: Brunner/ Mazel.

McNiff, S. (2004). Art heals: How creativity cures the soul. Boston, MA: Shambhala Publications.

Radford, C. L. (2020). Creative arts-based research methods in practical theology: Constructing new theologies of practice. Practical Theology, 13(1–2), 60–74. doi:10.1080/1756073x.2020.1727626

Sherwood, P. (2004). The healing art of clay therapy. Melbourne, Australia: ACER Press. White, V., & Belliveau, G. (2010). Whose story is it anyway? Exploring ethical dilemmas in performed research. Performing Ethos International Research Journal, 1(1), 85–95.