Painting together: how joint activity reinforces the therapeutic relationship with a young person with learning disabilities

The Couples' Closeness-Distance Scale- Observation through joint-drawing: A pilot dyadic validation study

The study aimed to evaluate the Couples' Closeness-Distance Scale (CCDS), an observational assessment reflecting couples' relational dynamics; based on joint-drawing, it offers measurable dimensions. Forty cohabiting Israeli couples participated in the joint-drawing task and answered self-report questionnaires for attachment, differentiation of self, and relationship satisfaction. The paintings were assessed by trained observers on the CCDS scales (too distant, too close, autonomy, engagement) for both the women's and men's experiences. A two-level-dyadic model showed that differentiation and relationship satisfaction predicted the CCDS and revealed a "pursue-withdraw cycle": Women sensed the men as too distant, while men sensed the women as too close. Participants' sense of discomfort from their partners' distance related to less autonomy and engagement during the painting, with a greater effect on the women. The pilot implies that the CCDS enables observing dyadic-systemic aspects of couple dynamics and may enrich clinical evaluation.

Children's perception of interpersonal coordination during joint painting

Interpersonal coordination is important for many joint activities. A special case of interpersonal coordination is synchronization, which is required for the performance of many activities, but is also associated with diverse positive social and emotional attributes. The extent to which these effects are due to the reliance on synchrony for task performance or to its specific rhythmic characteristics, is not clear. To address these questions, we considered a more general form of interpersonal coordination, implemented during joint artmaking. This is a non-typical context for interpersonal coordination, not required for task success, and smoother and more loosely-structured than more standard forms of synchronous coordination. Therefore, comparing interpersonal coordination with non-coordination during shared painting, could help reveal general social-emotional reactions to coordination. To gain a more 'naïve' perspective we focused on children, and staged coordinated and non-coordinated art interactions between an adult and a child, asking child observers to judge various variables reflecting the perceived bond between the painters. We found an overall stronger perceived bond for the coordination condition. These results demonstrate that even a non-typical form of interpersonal coordination could be attributed with positive social and emotional qualities, a capacity revealed already in childhood, with possible implications for development.

Mapping research on the social impact of the arts: what characterises the field?

This article explores the broad and undefined research field of the social impact of the arts. The effects of art and culture are often used as justification for public funding, but the research on these interventions and their effects is unclear. Using a co-word analysis of over 10,000 articles published between 1990 and 2020, we examined the characteristics of the field as we have operationalised it through our searches. We found that since 2015 this research field has expanded and consists of different epistemologies and methodologies, summarised in largely overlapping subfields belonging to the social sciences, humanities, arts education, and arts and health/therapy. In formal or informal learning settings, studies of theatre/drama as an intervention to enhance skills, well-being, or knowledge among children are most common in our corpus. A study of the research front through the bibliographic coupling of the most cited articles in the corpus confirmed the co-word analysis and revealed new themes that together form the ground for insight into research on the social impact of the arts. This article can therefore inform discussions on the social value of culture and the arts.

Friends' Closeness and Intimacy From Adolescence to Adulthood: Art Captures Implicit Relational Representations in Joint Drawing: A Longitudinal Study

This longitudinal study, employing a mixed-methods explanatory design, explored the power of art to express aspects of one's inner world using the joint drawing technique, which allows for observation and treatment of implicit representations of relationships. At Time 1 (T1, 1977-1978), 200 adolescents created a joint drawing with either a good friend or with a classmate who was not a friend and filled out the Intimate Friendship Scale (IFS) in relation to their best friend. In 2014 (T2), 36 women and 21 men from the original cohort completed the IFS with regard to a good friend and with regard to their spouse. The drawings were analyzed qualitatively to define pictorial phenomena that may be indicative of closeness. The analysis was conducted in accordance with the phenomenological approach to art therapy and with the principles of thematic analysis. Fourteen pictorial phenomena were defined, and a scale was constructed to quantitatively evaluate the extent to which each phenomenon was present in the joint drawing. This yielded a closeness score for each drawing. Quantitatively, no correlations were found between intimacy as measured by IFS at T1 and at T2. In contrast, there was a correlation between the degree of closeness in the joint drawing at T1, and the IFS score with the partner in T2, suggesting continuity over the 36-year time span. This correlation was likewise found when examined separately among participants who drew with a friend. The multivariate ANOVA (MANOVA) results showed a marginally significant effect for the interaction between closeness in drawing and drawing with a friend/non-friend - on IFS. An ANOVA showed that the IFS regarding the participant's best friend and their romantic partner at T2 was higher when the closeness in the drawing at T1 was higher. There was also a significant interaction between closeness in the drawings and the participant's IFS score regarding their best friend at T1. The differences between the joint drawing with the close friend and the non-friend are discussed. These findings, from a span of over 36 years, thus contribute to the validity of the IFS and the joint drawing technique when assessing closeness and intimacy.