Acec-Laura Andrew-Kati Thesis 2015

Approval
Name: Laura Andrew
Degree: D.K.A.T.I.
Title of Thesis: Art for Cultural Expression and Connection: A Therapeutic Art Group with
International Students
A THESIS SUBMITTED IN PARTIAL FULFILMENT
OF THE REQUIREMENTS
FOR THE
DIPLOMA KUTENAI ART THERAPY INSTITUTE.

D.K.A.T.I.
Approved by:
_________________________________________________
Monica Carpendale B.F.A., D.V.A.T.I., R.C.A.T., B.C.A.T.R.
Executive Director of the Kutenai Art Therapy Institute
_________________________________________
Nicole LeBihan B.A., D.K.A.T.I.
Thesis Supervisor
____________________
Date Approved
ART FOR CULTURAL EXPRESSION 2
ART FOR CULTURAL EXPRESSION AND CONNECTION
A Therapeutic Art Group with International Students
Laura Andrew
2015
Laura Andrew, 2015

"The non-verbal, symbolic, and mythic expressions that arise from our deeper selves when
we express creatively are understood cross-culturally.
Natalie Rogers
ABSTRACT
The intention of this research study was to explore the value of a therapeutic art group for
international high school students. Contingent to this study are the assumptions that art is a
universal language which transcends cultural and linguistic barriers, and that creative
expression is inherently healing and life-enhancing. Using an art as therapy approach, an
art group was facilitated with international high school students from two world regions.
The study investigated the lived experience of individuals in the group using a hermeneutic
phenomenological framework to analyze the data. Through thematic analysis, themes
emerged which reflected the core challenges this population faces during their academic
sojourn abroad. Findings reveal many benefits of an art as therapy modality in supporting
international students who face the intrapersonal and interpersonal challenges of living and
studying in a host country. Through creative expression and social connection, the art
group allowed international students a safe and supportive environment to explore and
express aspects of personal and cultural identity, learn interpersonal skills, improve
linguistic and cultural fluency, and enjoy the connection and creativity of the art group
experience. Where verbalizing in English as a second language (ESL) was sometimes
challenging, the art provided a universal language and allowed for non-verbal and symbolic
expression of experiences and emotions. This research adds to our understanding of
suitable counseling methods for international student adjustment.

ACKNOWLEDGMENTS
First, I would like to express my sincere appreciation to the courageous and creative young
individuals that I had the honor of working with during this research project. Each one of
your unique spirits has left a lasting impression on my heart.
I would like to acknowledge my dear friend and colleague, Julie Herman-Lemelin, for all
your hard work in facilitating this group with me. Your creativity is endless and inspiring,
as is your generosity. Thank you!
I would like to express my genuine gratitude to my KATI SupervisorsMonica

Carpendale, Nicole LeBihan, and Millie Cumming, for your teaching, mentorship and
support, and for always reminding me to trust the process. I am grateful for your vision
and warmth, and for encouraging me to find my authentic voice in writing this thesis.
To my KATI colleagues who have walked this path alongside me, thank you for sharing
your beautiful spirits, your passion and creativity. You are always in my heart.
A warm Thank You goes out to all my Friends and Family around the world, for always
believing in me. Your thoughtful encouragement energizes and sustains me. I couldnt have
done this without you! I love you all.
I am deeply grateful to my Partner--for the nourishment of body, mind and spirit that you
continually provide, for your selfless love, and for the infinite space you hold for me. I
thank you also for your Professional technical assistance on this project.
Finally, I am grateful to the Universe for providing me with synchronistic and phenomenal
opportunities for learning and growth, for providing me with an abundance of passion, love
and guidance, and for holding me gently as I walk this journey.
TABLE OF CONTENTS
ABSTRACT .......................................................................................................................... 4
ACKNOWLEDGMENTS ................................................................................................... 5
TABLE OF CONTENTS .................................................................................................... 6
INSPIRATION FOR THE PROJECT .............................................................................. 9
CHAPTER ONE: INTERNATIONAL STUDENTS...................................................... 12
Definitions ........................................................................................................................ 12
Reasons for Studying Internationally ............................................................................... 13
Challenges Faced by International Students .................................................................... 13
Developmental Tasks of Adolescence ............................................................................. 15
Synthesis of Needs and Challenges.................................................................................. 17
Chapter Summary............................................................................................................. 20
CHAPTER TWO: THERAPEUTIC ART WITH INTERNATIONAL STUDENTS 21
A Social Constructionist Approach .................................................................................. 21
Overview of Social Constructionism............................................................................ 21
Cultural Perspectives on Therapy ................................................................................. 22
Feminist Framework ..................................................................................................... 24
Humanistic Approach ................................................................................................... 24
Definition of Art Therapy ................................................................................................ 25
Art as Therapy .................................................................................................................. 26
Therapeutic Art Making with Adolescents ...................................................................... 27
Developmental Considerations ..................................................................................... 27
Spontaneous Art Making .............................................................................................. 28
Adolescent Group Art Making ..................................................................................... 29
Chapter Summary............................................................................................................. 30
CHAPTER THREE: THE METHODOLOGY .............................................................. 31
Indigenous Research Methods ......................................................................................... 31
Qualitative Research ........................................................................................................ 32
Definition of Qualitative Research ............................................................................... 32
Qualitative Research and Therapeutic Art ................................................................... 32
Limitations of Qualitative Research ............................................................................. 33
Research Approach .......................................................................................................... 34
Hermeneutic Phenomenology ...................................................................................... 34
Suitability of the Hermeneutic Phenomenological Approach ...................................... 35

Instrumental Case Study ............................................................................................... 35
Chapter Summary............................................................................................................. 36
CHAPTER FOUR: RESEARCH PROTOCOL ............................................................. 37
Formation of the Art for Cultural Expression and Connection Group............................. 37
Facilitators ........................................................................................................................ 37
Referral ............................................................................................................................. 38
Goals ................................................................................................................................ 39
Integrated Team Communication ..................................................................................... 39
Research Participants ....................................................................................................... 40
Therapeutic Art Group Sessions ...................................................................................... 40
Collecting the Data ........................................................................................................... 41
Analyzing the Data ........................................................................................................... 41
Thematic Analysis ........................................................................................................ 41
Hermeneutic Interpretation ........................................................................................... 42
Presentation of the Instrumental Case Study ................................................................... 43
Ethical Considerations ..................................................................................................... 43
Limitations of the Research ............................................................................................. 44
Chapter Summary............................................................................................................. 44
CHAPTER FIVE: PRESENTING THE FINDINGS ..................................................... 45
An Introduction to the Participants .................................................................................. 45
Overview of the Sessions ................................................................................................. 47
Session Vignettes ............................................................................................................. 47
Pre-Sessions: Referral Gathering ..................................................................................... 48
Session One: Welcome .................................................................................................... 50
Session Three: Collaborative Art ..................................................................................... 50
Session Four: Cultural Differences in Education ............................................................. 54
Session Four: Two Worlds ............................................................................................... 57
Session Five: Building Linguistic and Cultural Literacy ................................................. 60
Session Seven: Pride in the Artwork ................................................................................ 62
Session Eight: Empowerment through Being Witnessed................................................. 63
Session Nine: Cultural Norms .......................................................................................... 66
Session Eleven: Group Portrait ........................................................................................ 70
Session Eleven: Gratitude and Gift-Giving...................................................................... 73
Session Twelve: Sharing a Meal ...................................................................................... 74

Chapter Summary ................................................................................................................ 81
CHAPTER SIX: DISCUSSION ....................................................................................... 82
Themes and Benefits from Therapeutic Art Making Sessions......................................... 82
1) Social Connection .................................................................................................... 83
2) Communication and Social Skills ............................................................................ 84
3) Cultural Identity ....................................................................................................... 86
4) Self-Expression ........................................................................................................ 88
5) Fun, Relaxation and Play ......................................................................................... 91
6) Empowerment through Being Witnessed................................................................. 92
Summary of Benefits of the Therapeutic Art Group ........................................................ 93
CONCLUSION .................................................................................................................. 95
REFERENCES................................................................................................................... 97
APPENDIX A: Letter of Informed Consent .................................................................. 103
APPENDIX B: Intake Form........................................................................................... 104
APPENDIX C: Goals for the ACEC Group .................................................................. 105
APPENDIX D: Feedback Form ..................................................................................... 106
INSPIRATION FOR THE PROJECT
For as long as I can remember I have enjoyed the benefits of creative expression, whether
for self-expression, self-soothing, or as a means of passage and escape into my self. The
creative process is a cherished part of my life which has supported and accompanied me
through challenges such as loneliness and loss; grounded me through periods of transition;
facilitated my growth towards self-understanding; and given me a means of self-expression
during times of joy and celebration.
When I reflect upon the facets of my life experience that have most impacted and shaped
me into the person that I am today, I can without hesitation name them as twofold: my
creative process which has accompanied me since childhood, and my choice to leave home
and spend my young adulthood living overseas within another culture. Having only
recently returned home to my country of origin, I am still exploring and making meaning of
this profound experience in my life. As I work towards building community and growing
new roots, I face the challenges of reconnecting with my family of origin, navigating
reverse culture shock, adapting to a new environment, integrating my cultural experiences
and forming a new cultural identity. It is my relationship with art making that has
accompanied me on every step of this journey, and without which I feel I would not be the
healthy, whole-hearted person that I am today.
Having lived and worked overseas with adolescents as an ESL (English as a Second
Language) teacher for over a decade, and having myself been an international student, I
have a personal interest and indeed a passion for working with this population. During my
first year of training as an art therapist I completed an internship working with adolescent
girls at the local high school. At this time I became aware of the need in my community for
additional support for international high school students. I was inspired to create an
opportunity where I could draw on my unique background and experience to connect with
this population, and research the value of a therapeutic art group with international
students.
This research study was informed and inspired by the concepts introduced by Shaun
Wilson in his 2008 book, Research is Ceremony. Wilson articulates an approach to
research which is rooted in a respect for, and honoring of the interconnectivity between
individuals, culture, and community. Indigenous research methods emphasize the
importance of relationship: those that exist between the research participants and their
community; between the research participants and the researcher; as well as between the
research findings and the community. Reciprocity is key, and this can be achieved by
researching what is useful and beneficial to the community, and by giving research findings
back to the community (Wilson, 2008). These ideas resonate with me and reflect the
emphasis I put on relationship in my life, and the importance of community, both at the
local and global level. It is my hope that this study can further our understanding of how to
use the creative process to support international students living and studying in this and
other communities towards adjustment and well-being.
I approached this research project from a place of deep gratitude for the gift of my life
experience, and a sense of knowing that I can apply it to help others on their path to well-
being. My passion for art and my belief in its healing potential, combined with my wonder,
curiosity and phenomenological approach to life, fuels me on this road of inquiry and
discovery.
This thesis is an inquiry into the value of a therapeutic art group for international high
school students. The first two chapters are a literature review intended to provide a
foundation and context for understanding the research project. Chapter One will identify
the challenges and needs of international students during their sojourn abroad, and
considers potential reasons for choosing to study internationally. Additionally, the first
chapter will provide a review of developmental theory relevant to the adolescent stage of
development. Chapter Two will define art therapy and art as therapy, and consider how art
can function as a form of nonverbal communication. Group therapeutic art making with
adolescents will be discussed. The social constructionist way of viewing reality that
provides the outer container for this study will be presented. Theoretical background on the
humanistic approach to facilitating a therapeutic art group with international high school
students will be provided. Cultural perspectives will also be discussed. Chapter Three will
present hermeneutic phenomenology as the methodology that was used to examine the
thesis question, and discuss why this particular methodology is relevant for this project.
Chapter Four will present the research protocol, explaining how the Art for Cultural
Expression and Connection group was formed. It will provide an overview of the art
sessions, explain how data was collected and how the thematic analysis was carried out.
Ethical considerations will also be examined. Chapter Five will introduce the international
students, and present the findings of the study through session vignettes illustrating the
group process. At the end of each session themes will be presented which were distilled
using the selective highlighting approach of thematic analysis. Chapter Six will weave
emergent themes from the data with relevant theory and the known challenges and needs of
the population to highlight the value of therapeutic art making with international high
school students.
CHAPTER ONE: INTERNATIONAL STUDENTS
This research project is an inquiry into how group therapeutic art making can support
international high school students to navigate the various challenges they face living and
studying in a host country. In order to provide a foundation and context for understanding
this research project, a comprehensive literature review was conducted to identify and
explore the challenges, needs and intentions of international students. Developmental tasks
of adolescence will also be identified.
Definitions
Terminology that will be used throughout the paper is defined here.
International Student:
The UNESCO Institute for Statistics (UIS) Global Education Digest refers to an
international student as an internationally mobile student, defined as a student who has
left his or her country, or territory of origin, and moved to another country or territory with
the singular objective of studying (Clark, 2009). Ward, Bochner and Furnham (2001) use
the term sojourner to describe international students. They define a sojourn as a
temporary stay, from six months to five years, in a new place which occurs voluntarily;
sojourners, unlike immigrants and refugees, anticipate returning home at some future
point (p. 142).
English Language Learner (ELL student):

The participants in this research study are ELL students. As according to the British
Columbia Ministry of Education (2013), an English language learner is a student whose
primary language, or language of the home, is other than English.
Marginalized Population:
International students fall into the category of a marginalized population. As such, an
understanding of their issues and needs may be underrepresented in the host environment
in which they reside. Marginalized populations are those excluded from mainstream
social, economic, cultural, or political life (Cook, 2003). Examples of marginalized
populations include groups excluded due to race, religion, political or cultural group, age,
gender, or financial status.
Reasons for Studying Internationally

There are a variety of reasons why students leave home to study internationally. According
to research, the primary reason is to obtain a degree (Ward, Bochner & Furnham, 2001).
The decision to study internationally is often linked to a belief or perception that the host
country has a superior education system to ones own. Other reasons include: a desire to
learn the language and be exposed to the culture of the host country; and to experience
cultural and linguistic exchanges. In some cases, students themselves choose to study
internationally while in other cases, students may be forced by family to pursue education
overseas. The length of time spent studying abroad varies from a semester to the entire
three years of high school. In many cases, students graduate from high school in the host
country, then continue to pursue higher education overseas as well. It is important to note
that although studying internationally undoubtedly broadens horizons and creates
opportunities for students, it can also be a stressful and difficult experience for students
during this vulnerable adolescent stage of development.
Challenges Faced by International Students

International students are young individuals who have left the comfort, security and
familiarity of their home environment in order to pursue education in a different world
region. In doing so, these individuals are courageous risk-takers willing to challenge
themselves personally and academically. As sojourners they arrive to the host country with
a range of expectations and emotions related to what their homestay families, peers, school,
and life in the new environment will be like, and they face inherent challenges in the
process of transitioning between worlds. Although cross-cultural transitions are unique for
each individual, international students share something in common regardless of their
diverse cultural, social, religious, and political backgrounds. Faced with a new culture,
language, and set of basic values and beliefs, international students are continually
challenged to accommodate themselves to a variety of cultural differences (Thomas and
Althen, 1989, as cited in Mori, 2000).
Similar to their host counterparts, international high school students experience the
personal, social and academic challenges inherent to the period of adolescence. What
makes the needs of international students unique is that these issues are further
compounded by the cross-cultural challenges of living and studying in a foreign country.
An international student has multiple roles, each with intrinsic challenges. As adolescents,
international students are grappling with the identity conflicts related to personal
development in late adolescence and early adulthood, and the stressors associated with
transitioning to a new school. As sojourners they face the loss of support networks, and the
challenges related to transitioning to a host environment. As English Language Learners,
these individuals are challenged by insufficient linguistic and cultural skills (Furnham &
Bochner, 1986, as cited in Ward, Bochner & Furnham 2001). Academic demands raise
further concerns for international sojourners who experience internal and external pressure
to succeed (Arthur, 2008, as cited in Davis, 2010).
A growing body of international student literature shows that sojourner students experience
higher levels of maladjustment than their mainstream host counterparts. Common issues
among this student cohort include anxiety, depression, role-confusion, and isolation
(Pederson, 1991, 1996, 2008, as cited in Davis, 2010). For example, recent research in
Australia shows that socio-cultural factors contribute to silent or avoidant coping patterns
among international students from China and Japan (Davis, 2010). Facing a wide range of
interpersonal challenges such as difficulty making friends and establishing social support
networks; struggling with communication (language and social skills); and facing the
cultural shock of being immersed in a new environment with different expectations and
social norms, it is no surprise that international students may turn inward as they attempt to
cope with the intrapersonal factors they are dealing with. Intrapersonal challenges for these
individuals include a feeling of disconnection from family and friends; a sense of
inferiority within the host environment; and a sense of uncertainty about the future (Sandu
& Asrabadi, 1994 as cited in Furnham, 2004).
In seeking to establish appropriate counseling methods to support international students,

much research has been done in the field. It has been shown that due to cultural diversity
and differences in conceptualizing mental health issues around the world, a limited
availability of suitable counseling methods exist for this population (Davis, 2010). Culture
influences health belief systems and has an effect on the expression, diagnosis and
treatment of emotional and mental issues (Kleinman & Good, 1985; Kramer, Kwong, Lee,
& Chung, 2002). Cultural stigmas associated with counseling as a sign of weakness or
internal disharmony often result in a reluctance to ask for help (Arthur, 2003, 2008;
Pedersen, 1991; Pedersen, Lonner, Trimble, & Title 1996; Pope-Davis, Liu, Toporek, &
Brittan-Powell, 2001 as cited in Davis, 2010). In their cross-cultural research of depression,
Kleinman & Kleinman (1985) found that many societies in the non-Western world express
emotional illness or distress through physical complaints. This is exemplified by a study by
Kramer, Kwong, Lee, & Chung (2002):
The influence of the teachings and philosophies of a Confucian, collectivist
tradition discourages open displays of emotions in order to maintain social and
familial harmony or to avoid exposure of personal weakness. Saving facethe
ability to preserve the public appearance of the patient and family for the sake of
community proprietyis extremely important to most Asian groups. Patients may
not be willing to discuss their moods or psychological states because of fears of
social stigma and shame. In many Asian cultures, mental illness is stigmatizing; it
reflects poorly on family lineage and can influence others' beliefs about the
suitability of an individual for marriage. It is more acceptable for psychological
distress to be expressed through the body than through the mind. (para 3)
Developmental Tasks of Adolescence

A transitional stage between childhood and adulthood, adolescence is a period of flux
during which individuals are experimenting with different forms of self-expression as they
develop their self-identity, experiment with relationships, and formulate ideas, beliefs, and
world views (Riley, 1999). Concurrently, adolescents must deal with the complexities of
physical and psychological development, and the social and academic challenges of family,
peer and school life.
Adolescence is an exciting period of change and creativity. In his book, Brainstorm: The
power and purpose of the teenage brain, Daniel Siegel (2013) describes adolescence as an
essential time of emotional intensity, social engagement and creativity (p. 4). Viewing this
stage of development from a neuroscience perspective, Siegel (2013) identifies four
qualities of adolescence caused by brain changes during the early teen years. These
qualities include: novelty seeking; social engagement; increased emotional intensity; and
creative exploration.
Identity Formation
According to the theory of psychosocial development outlined by developmental
psychologist Erik Erikson, a healthy human passes through eight stages of development
from infancy to late adulthood. Erikson (1963) suggested that a crisis of a psychosocial
nature occurs at each stage of development as psychological needs of the individual
conflict with the needs of society. Erikson emphasized the adolescent period as a crucial
stage for developing a persons identity. According to Erikson, the psychosocial stage of
adolescence is identity vs. role confusion. During this time, adolescents struggle as they
search for their identity and their place in the larger social order.
Peer Orientation
Identity formation is largely accomplished through peer affiliations. The need for
belonging while exploring ones personal identity explains why connecting with peers is
fundamentally important for adolescents (Ferentz, 2012; Riley, 1999). This desire for social
engagement enhances peer connectedness and the creation of new friendships (Siegel,
2013). At this stage of development adolescents begin pushing away from adults and
orienting towards peers. This behavior is seen as normal and necessary for survival as
adolescents prepare to leave the nest (Siegel, 2013, p. 27). It functions to allow
adolescents to adapt to a constantly changing world in order to create new strategies for
living. Although pushing away from adults is universal, it is important for both adolescent
and adult to keep the lines of communication open in order to safely navigate this stage of
development (Siegel, 2013).
Creativity
Adolescence is an inherently creative stage of the life cycle. As Winnicott expressed,
Immaturity is a precious part of the adolescent scene. In this is contained the most exciting
features of creative thought, new and fresh feeling, ideas for living (as cited in Davis &
Wallbridge, 1998, p. 84). Creative exploration comes naturally at this stage of
development, where conceptual thinking and abstract reasoning lead to new ideas and
innovation (Siegel, 2013). Additionally, this period of transition is marked by increased
emotional intensity as youth navigate developmental, social and personal challenges
(Siegel, 2013). Though it can be a charged time for youth, this aspect of adolescence
creates the excitement and zest for life which is characteristic of youth. Along with this
passion comes another quality of adolescence, novelty seeking, where pursuing and
creating new experiences leads to a more full engagement in life (Siegel, 2013).
Synthesis of Needs and Challenges

The findings of the literature review reveal that international students experience a broad
range of needs and challenges that occur across the personal, social, developmental,
academic, and cross-cultural realms of experience. During an intense time of exploring and
shaping ones personal identity, adolescents face the question of Who am I? As an
adolescent, an individual exists in a transitional stage in life between childhood and
adulthood. This is a time of becoming. Exploring the self and the inner world, while living
within an outer environment, relational aspects come to the forefront of experience.
Adolescents are exploring who they are in relationship to oneself, and in relationship to
other. This developmental experience of adolescence is mirrored by the experience of the
international student who also exists in a transitional space between leaving home and
adapting to a host environment. For the international student, the intrapersonal and
interpersonal challenges of adolescence are compounded by being separated from ones
family and culture, and entering a foreign environment. In addition to shaping ones
identity as an adolescent, the international student is also exploring his or her cultural
identity, while concurrently searching for his or her place within a new and unfamiliar
culture. Viewing the individual from a holistic perspective, one can see that the challenges
and needs of being an international student during the period of adolescence are
multidimensional and that they influence one another. The range of challenges international
students face can be viewed through a lens of personal experience, and further synthesized
into intrapersonal and interpersonal aspects. See Table 1.
Table 1.
CHALLENGES FACED BY INTERNATIONAL STUDENTS
Personal Challenges
Intrapersonal Interpersonal
-Adaptation to new
-Transitioning into a host
environment: social skills &
family
etiquette
-Difficulty making friends &
-Loss of social support
establishing social support
Social networks
-Feelings of social isolation
-At risk for: stress/anxiety,
-Possibility of racism,
low self-esteem, depression,
discrimination, or cultural
avoidance of certain
insensitivity
situations
-Communication: Linguistic
-Sense of loss of family & & cultural barriers; ELL;
friends/ cultural identity verbal & non-verbal
-Sense of inferiority within language
host environment -Adaptation to new
-Sense of uncertainty about environment: social skills &
Cross-Cultural
the future etiquette
-Cultural shock -Limited availability of
-Stigma around seeking suitable counseling methods
mental health support/ due to cultural diversity &
reluctance to ask for help international mental health
issues
-Stressors related to -Stressors related to
developmental stage of developmental stage of
Developmental
adolescence: identity adolescence: peer orientation
formation & need for belonging
-Transition to a new school
-Linguistic challenges
-Linguistic challenges
- Cultural differences in
Academic -Cultural differences in
education styles/expectations
education styles/expectations
-Academic pressure
Chapter Summary
Chapter One introduced terminology relevant to this thesis and described the reasons for
studying internationally. Next, the challenges, needs and intentions of international
students living and studying in a host country were identified. These challenges were
presented within an intrapersonal and interpersonal framework. A developmental view of
adolescence including the primary tasks of this stage of development was presented.
Developmental tasks include identity formation, peer orientation, novelty seeking, social
engagement, emotional intensity, and creativity. Chapter Two will provide a definition for
art as therapy and introduce theoretical background relevant to this thesis.
CHAPTER TWO: THERAPEUTIC ART WITH INTERNATIONAL
STUDENTS
This research project is an inquiry into the value of a therapeutic art group with
international students. This chapter will present theoretical background on the approach
used in facilitating the group. First, the social constructionist perspective of reality
formation as the underlying framework for this study will be introduced. Then, cultural
perspectives on therapy will be examined. The feminist framework and the humanistic,
person-centered approach will be discussed. The definition of art therapy will be provided,
and the modality of art as therapy introduced. Finally, therapeutic art making and group art
making with adolescents will be discussed.
A Social Constructionist Approach

Overview of Social Constructionism
The theory of social constructionism holds that reality, culture and the individual selves
within it are social constructions (Parker, 2013). Specifically, the understanding and
meaning of the world is developed not separately within the individual, but rather jointly
constructed in coordination with other human beings (Leeds-Hurwitz, 2009). As Parker
(2013) expresses:
The world we live in is the world as it is presented to us as a set of cultural
meanings. The self we create (or have created for us) is created in the context of
this social understanding. From this point of view, the self is a set of
understandings, ideas, images, feelings that I identify as myself, my identity. (p. 43)
A fundamental underpinning to the theory is that language is the most essential system
through which humans construct reality. Lynn Hoffman (1992, as cited in Riley, 1999)
defined social constructionism as the theory that views ideas, concepts and memories (as)
arising from social interchange and mediated through language. All knowledge evolves in
the space between people, in the realm of the common world (p. 257). In other words, the
world as we each understand or invent it is impacted by the social and cultural environment
of our lives and understood though the use of language (Riley, 1999). Social
constructionism is a post-modern perspective which takes into consideration the context,

developmental concerns, and personal perspectives of individuals (Malchiodi, as cited in
Riley, 1999).
From a social constructionist viewpoint therefore, one does not discover reality, but instead
has the ability to invent it for oneself (Watzlawick, 1984 & Riley, 1999, as cited in
Carpendale, 2009). Carpendale expresses, The world and the self are not there to be
discovered but are actually to be created. We create new worlds in each of the relationships
we are involved with. We do this in dialogue, in language-and in art therapy we use the art
to create (Carpendale, 2009, p. 18). This way of viewing reality holds that every
individual has a unique experience that is shaped by personal, social, cultural,
developmental and environmental factors. The individual is viewed in the context of his or
her environment; the facilitator sees the adolescent as separate from his or her problems
and behaviors, and allows the art and its meaning to direct the therapeutic encounter and
create an opportunity for discussion (Riley, 1999).
Therapeutic art making is a social constructionist way of responding to the individual. This
approach supports the adolescent to be perceived holistically within the broader context of
his or her own life, while also supporting the researcher to bracket assumptions and cultural
projections in order to approach the art group facilitation with a fresh, curious, unassuming
perspective. For the purpose of this thesis, culture, power differentials and age have all
been considered as influences in the social construction of international students.
Cultural Perspectives on Therapy
Approaching therapeutic art making with international students through a lens of

multicultural awareness and a respect for cultural differences is fundamental to working
with this population, particularly because the values embedded in Western therapeutic
practices may run counter to the culture of an individuals native culture (Wadeson, 2010).
For example, when looking at the differences between individualist and collectivist
societies, we see the existence of distinctive value systems. While members of
individualist cultures are taught to strive for independence and autonomy, people raised
within collectivist societies hold the good of the community or family ahead of that of the
individual, and value harmony and consensus.
Cross-cultural studies have demonstrated that social constructs specific to Western cultures
may not have any correspondence to those of other cultures. Art therapy cannot be assumed
to be a universal construct because cultures have their own way of categorizing phenomena
and experiences (Hocoy, 2002). Markus and Kitayama (1991, as cited in Hocoy, 2002)
have shown that many psychological constructs that are taken for granted in Euro-
American culture may not even exist in Asian cultures. For instance, the concept of self-
esteem has meaning within an individualist Western society, but has no validity or reality
in a collectivist Asian society such as Japan.
Davis (2010), in her study on art therapy with international students in Australia, cites
researchers in the field of cross-cultural counseling who found that the cultural stigmas
associated with counseling as a sign of weakness or internal disharmony have prevented
many from seeking mental-health support or for keeping with it if and when they do (p.
179). Thus, informal methods of counseling that focus on communication are important in
counseling international students about their adjustment to life in a host environment
(Pedersen et al., 1996, as cited in Davis, 2010). Being able to converse about one's
intentions, expectations, feelings, behaviour and cognitions contributes to a greater
understanding of one's social and cultural environment. Hence, talking to international
students about the stress involved in adapting to a new environment often helps to
normalize their feelings as part of the adjustment process, and in turn helps them feel better
about themselves and the host environment (Davis, 2010). Additionally, counselors should
recognise that cross-cultural transitions are unique for each student and that treating
international students as a homogenous group would undermine their capacity for
adjustment (Arthur, 2008, as cited in Davis, 2010).
Feminist Framework
The goal of the feminist framework is to work towards empowering the client. In a feminist
therapy setting the therapist and client work as equals. According to the Feminist Therapy
Code of Ethics (2000):
Basic tenets of feminism include a belief in the equal worth of all human beings, a
recognition that each individuals personal experiences and situations are reflective
of and an influence on societys institutionalized attitudes and values, and a
commitment to political and social change that equalizes power among people.
Feminists are committed to recognizing and reducing the pervasive influences and
insidious effects of oppressive societal attitudes and society. (para. 2)
When working within a feminist framework, respecting cultural and experiential

differences is fundamental. The facilitator takes into consideration cultural diversity and
awareness of privilege and power differentials. This includes: being aware of the impact of
ones own ethnic and cultural background, gender, class, age, and sexual orientation; being
aware of the privilege of dominant culture; and broadening ones knowledge of ethnic and
cultural experiences (Feminist Therapy Code of Ethics, 2000).
Humanistic Approach
Central to a humanistic, person-centered approach is the belief that each individual has
worth, dignity, and the capacity for self-direction (Rogers, 2001). This approach takes an
optimistic view of human nature and the human condition, seeing people in a process of
growth and development, with the capacity to take responsibility for their fate (Rubin
2001, p. 199).
The humanistic facilitator has the capacity to be honest, open and congruent with the
participant while creating a caring and non-judgmental atmosphere in which a person is
regarded as a whole (Silverstone, 1997; Garai, 2001). The person knows best, and can
reach his or her own potential in an atmosphere of acceptance and empathy. Through
respect, acceptance and faith, the growth of an individual or group is facilitated (Rogers,
2001; Carpendale, 2009). The goal is a balanced individual who develops the ability to find
meaning and identity in as fully creative a lifestyle as possible (Garai, 2001).
This approach embodies the belief that there are three basic life tendencies: the need for
pleasure, the need for belonging, and the need for creative accomplishments, and that each
individual has a deep need to integrate these three basic needs in a pattern that is
characteristic of his or her identity (Buhler, 1971, as cited in, Garai, 2001, p. 150). This
approach places emphasis on life problem solving and encouragement of self-actualization
through creative expression (Garai, 2001).
The humanistic approach holds relationship at its core, and is rooted in a respect for the
interconnectivity between individuals, community, and culture. Relationship with oneself,
relationship with others, and relationship with ones environment are the basis of human
interaction and human experience. Dr. Martin Fischer, a Canadian art therapy pioneer said
that seeking to understand ourselves and to be understood by others is the essence of all
human need (1985, as cited in Carpendale, 2009). The spirit of the humanistic, person-
centered approach is an intention towards the holistic integration of body, mind and spirit
that a person seeks both within himself and also with his environment (Garai, 2001).
Definition of Art Therapy

While people have been using the arts as a way to express, communicate, and heal for
thousands of years, art therapy as a field only began to formalize during the middle of the
20th-century. Art therapy is a therapeutic intervention which combines the healing and
self-reflective facets of the creative process with psychotherapy for self-exploration and
understanding (Kutenai Art Therapy Institute, 2010; Canadian Art Therapy Association,
2015). Malchiodi (2013) defines art therapy as the application of the visual arts and the
creative process within a therapeutic relationship, to support, maintain, and improve the
psychosocial, physical, cognitive and spiritual health of individuals of all ages.
There is a continuum of practice within the field of art therapy moving from art as therapy
through art therapy to art psychotherapy (Carpendale, 2009; Malchiodi, 2013). Art as
therapy works with the belief that art making itself is intrinsically therapeutic, and that the
creative process is healing and life enhancing. Art psychotherapy embodies the idea that art
is a means of symbolic communication that expresses personality, emotions and other
aspects of human experience. In this approach, art expressions are used to enhance verbal
exchanges between the therapist and the client (Malchiodi, 2013). Art therapy draws from
both, combining therapeutic dialogue with the intrinsic therapeutic nature of the creative
process (Carpendale, 2009).
Art as Therapy
Art as therapy is a modality within art therapy which upholds the belief that all individuals
have the capacity to express themselves creatively, and that the creative process is
inherently therapeutic in nature. A strength-based process, this approach empowers
individuals to express their emotions authentically and spontaneously, and build the skills
necessary to cope with life challenges. A central tenant to this approach is the idea that the
art product is less important than the therapeutic process involved. As Malchiodi (2003)
asserts, creative activity has an inherent ability to help people of all ages and populations
explore emotions and beliefs, reduce stress, resolve problems and conflicts, and enhance
their sense of well-being (p. ix). Creating art is an experience that can lead to personal
fulfillment, emotional reparation, and transformation. Additionally, art as therapy is an
approach which supports the ego, fosters the development of a sense of identity, and
promotes maturation (Kramer, 1993).
Another advantage of this modality is that when art making is used therapeutically, it
allows the artist an alternative mode of communication to verbal expression. It is now
widely acknowledged that self-expression through the creative process is a way to visually
and nonverbally communicate thoughts and feelings. When words are insufficient or
inadequate, or language barriers exist, the artist may use form, color, line, imagery and
symbolism to express emotions and experiences. The art functions as a symbolic form of
communication which transcends language and culture and allows for the expression of
feelings, ideas and human experience.
Therapeutic Art Making with Adolescents

Therapeutic art making is well suited for adolescents for several reasons: individuals are
inherently creative at this stage of life; it allows for communication that is non-threatening
as it transcends words through the use of imagery and metaphor; and art expressions are
regarded in the context of the art makers world, with the artist as expert of his or her own
creation (Riley, 1999).
When working with adolescents it is necessary to honor the whole context in which they
experience life, including such factors as culture, socio-economic situation, race, ethnicity,
in addition to personal perspectives and developmental issues (Malchiodi, 1999). It is also
important to recognize the idea that adults are naturally outside of adolescent culture, and
that art expression is one of the few ways that a facilitator can begin to recognize these
cultural differences and utilize the multiples lenses available for understanding (Malchiodi,
1999). Art expression is one of the few means through which many adolescents feel
comfortable sharing the impact of culture and society, gender and family (Malchiodi,
1999).
Developmental Considerations
When facilitating therapeutic art making with individuals in the adolescent stage of
development it is important to understand the primary developmental tasks of adolescence.
Adolescence is a period of constant change during which individuals are experimenting
with different forms of self-expression as they develop their self-identity, experiment with
relationships, and formulate ideas, beliefs, and world views (Riley, 1999). Concurrently,
adolescents are experiencing the dynamics of physical and psychological development, and
the challenges of family, peer and school life. It is important to normalize these experiences
for individuals and as such, facilitators working with this population are encouraged to
view clients through the lens of a development skewed by circumstances, and not as a
pathological symptom (Riley, 1999, p. 20). Riley (2001) explains,
As adolescents mature, they develop the ability to understand abstract concepts and
to form judgments. The desire to find their individual selves is processed through
stages an overly intensive absorption with themselves, exaggerated dependency
on peers, and withdrawal from parental influences. In addition, societal and

economic pressures on adolescents fit into a mold of behaviors that are not
necessarily in harmony with their internal stages of maturingThe discrepancies
between the adolescents' expectations, the expectations of society, and the
commercial image projected by the media is the source of much of the confusion of
today's youth. (para. 5)
During the period of identity formation an adolescent is searching for role models and
consistency. It is natural that an individual may be defended against opening up to a
stranger with whom they feel no sense of continuance (Riley, 1999). Art is an effective and
powerful way to begin the process of creating a meaningful bond between the facilitator
and adolescent. Malchiodi (1999) speaks about her experience working with adolescents in
Rileys Contemporary Art Therapy with Adolescents, art expression served as a potent
way for them to communicate conflicting emotions and confusing questions of identity, to
tap their natural creative potentials to problem solve, to restore and repair the self, and to
forge a meaningful therapeutic connection with me through their images (p. 11).
Additionally, it allows for a relationship with an adult that is not experienced as
controlling. For the adolescent to feel that he or she has choice and control is very
important. Riley (1999) expresses that in art therapy, adolescents learn to freely project
their concerns, secure in the knowledge that they need only share verbally what they
choose (p. 52). Additionally, using art as language rather than verbalizing comes naturally
to adolescents who are particularly drawn to making symbols and graphic depictions
(Riley, 2001). The art functions as a mediator between the artist and the facilitator; it is a
tangible object which externalizes the adolescents lived experience, emotions and
perceptions, and which provides a starting place for therapeutic dialogue.
Spontaneous Art Making
Spontaneous art making is a suitable way of working therapeutically with adolescents

because it engages their natural curiosity and creativity (Siegel, 2013; Riley, 1999). The
spontaneous or non-directive approach to art making is a process which is empowering to
the artist, as it provides tools for self-discovery and an opportunity to express and release
inner feelings (Carpendale, 2009). Additionally, creating a powerful or playful work of

art can provide the artist with a great deal of satisfaction (Carpendale, 2009, p. 14). In this
approach, the facilitator makes a wide variety of art materials available; participants are
encouraged to explore the art materials, and select what they feel drawn to. Spontaneous art
making rests on the belief that thoughts and feelings are derived from the unconscious and
often find expression through images rather than words (Naumberg, 1987).
Through the use of simple media, refraining from interpretation, and demonstrating
genuine interest and curiosity, art therapy offers the youth a means for nonthreatening
communication (Riley, 1999). Respecting adolescents as the experts of their own
experiences, recognizing cultural, societal, and economic backgrounds, and responding to
individuals unique world views are the basis for working successfully with adolescents
(Riley, 1999).
Adolescent Group Art Making

Group art making is effective for adolescents because it takes advantage of two particular
developmental needs: individuation, the process of successfully separating from the family
of origin; and peer orientation (Riley, 1999; Siegel, 2013). In the quest to create distance
from the family that allows for both connection and autonomy, the adolescent naturally
turns to his or her peer group for support. Moving away from the family is best
accomplished while simultaneously staying connected (Bloch, 1995, as cited in Riley,
1999; Siegel, 2013). Not only are adolescents more likely to discuss their challenges with
peers than parents, but they also find relief in realizing that other teenagers are struggling
with the same issues. They find the group configuration less threatening, and being able to
keep their hands busy while talking about their difficulties is attractive to individuals of this
age group (Riley, 1999).
The art process is often therapeutic from the viewpoint of self-mastery. Through the
process of art making, self-esteem is often enhanced as the adolescent experiences mastery
of the skills required to complete a creative work (Rubin, 2010; Landgarten, 1981). These
skills may include responsibility, control, choice and decision making (Rubin, 2010;
Landgarten, 1981). As youth have opportunities to experience and master art media,
complete art tasks, and create within the group, there are often improvements in their social
relationships, school performance, self-esteem and mastery over tasks (Howie, Prasad, &
Kristel, 2013).
An additional benefit of creating art within a group context is the experience of being
witnessed by group facilitators and peers. Being witnessed by others in ones creative
process can be a powerful form of affirmation. Through reflecting back to the adolescent
what has been observed by the facilitator, the individual experiences being recognized,
acknowledged, or understood (Moon, 2002). Acting as a witness offers youth a kind of
mirror by which to become more self-aware as they come to understand themselves as
another perceives them (Moon, 2002).
Chapter Summary
Chapter Two discussed the approach used by the researcher in facilitating a therapeutic art
group with international high school students. The social constructionist perspective that
provided the outer frame of the research project was examined. Next, feminist and
humanistic frameworks were explored, and cultural perspectives on therapy were
discussed. A definition of art as therapy within the greater context of art therapy was
provided, and therapeutic group art making for international students was introduced.
Chapter Three will present the methodology that was used to examine the thesis question.
CHAPTER THREE: THE METHODOLOGY
This chapter will describe the method used by the researcher to investigate the value of a
therapeutic art group for international high school students. An Indigenous approach to
research which provides the intention for the study will be outlined. A definition of
qualitative research with a hermeneutic phenomenological approach will be provided, and
both the efficacy as well as the limitations of this methodology will be discussed. The
Instrumental Case Study utilized for the research design will be described.
Indigenous Research Methods
The intention of this research study was informed and inspired by Indigenous research
methods as introduced by Wilson in his 2008 book, Research is Ceremony. Holding a
belief in the interconnectivity between individuals, culture, and community at its core, this
approach emphasizes the importance of relationship, respect, and reciprocity when
conducting research (Wilson, 2008). Maintaining relational accountability occurs
through an awareness of the relationships that exist between the research participants and
their community, between the research participants and the researcher, as well as between
the research findings and the community (Wilson, 2008). Embedded within this approach
to research is an inherent respect for the research participants and the community.
Reciprocity is realized through researching what is useful and beneficial to the community,
and in the intention to give research findings back to the community.
The core facets of the Indigenous approach, namely relationship, respect, and reciprocity,
inspired the shaping of this research project. First, this study was designed with respect for
individuals within a community by researching how to better support international students
towards personal and social integration and well-being. The intention was that by working
together with the school counselor and International program advisor, the needs of
participants would be better understood. In order to keep the international students
connected to their school community, art making activities were aligned with International
Program activities whenever possible. Cross-cultural challenges were transcended by a
belief in the interconnectivity of people, and an understanding that art is a universal
language which facilitates nonverbal communication. Furthermore, it is the intention of the

researcher to utilize the findings of the study to support future generations of international
students in the community and to extend the findings to other communities. This research
study intends to add to the literature on counseling international students by showing how
therapeutic art making can be used as a modality with this population.
Qualitative Research
Definition of Qualitative Research
Qualitative research inherently allows researchers to get to the inner experience of
participants, to determine how meanings are created through and in culture, and to discover
variables rather than test them (Corbin & Strauss, 2008). Qualitative research is defined by
Juliet Corbin and Anselm Strauss in The Basics of Qualitative Research as, a process of
examining and interpreting data in order to elicit meaning, gain understanding, and develop
empirical knowledge (2008, p. 1). Oriented toward discovering or understanding a
phenomenon, qualitative research endeavours to produce a holistic understanding of human
experience through multiple sources of data, and does not aim to generalize findings to a
population (Kapitan, 2010). Qualitative methods are characterized by impressions and
reflections, thoughtful analysis of observed themes, and by the subjective responses of the
researcher and research participants to the research inquiry (Deaver, 2002 as cited in
Kapitan, 2010). An advantage of this research method is that data from qualitative studies
describes the qualities or characteristics of something, providing the researcher with details
about human behavior, emotion, and personality characteristics (Madrigal and McClain,
2012). This form of research allows researchers an opportunity to employ their natural
curiosity and to connect with their study at the human level.
Qualitative Research and Therapeutic Art

Qualitative methods of inquiry are commonly recognized as suitable for art therapy
research as they fit well with investigating subjective experience and offer a range of
methods in which to ground observations. The process of facilitating a therapeutic art
group is in itself qualitative research. Facilitators keep detailed notes after sessions to
document the phenomenological experience of participants, then utilize supervision with
Kutenai Art Therapy Institute supervisors to discuss and reflect upon what occurred.
Adjustments are then made in the following session to best meet the needs of participants.
Qualitative research, and specifically phenomenological research, allows for a richness in
capturing and describing the details of the lived experience of participants behaviour,
dialogue and art making process during therapeutic art group sessions. The advantageous
characteristics of qualitative research beautifully mirror the intuitive, creative, trusting and
flexible nature of the creative process of art making itself. However, when conducting
research within a therapeutic relationship, it is important to be aware of the
researcher/facilitators dual relationship. As LeBihan (2008) points out, the
researcher/facilitator has an ethical obligation to consider this dual role and ensure that the
research goals do not override the therapeutic process.
Limitations of Qualitative Research

Although there are a myriad of benefits to qualitative research, it is sometimes criticized by
those in the scientific community as a research method which lacks statistical significance,
compared with quantitative research. Due to small sample sizes, findings cannot be
generalized to wider populations. However, data has value and can be used to inform
practices in similar settings.
Anderson (2010) points out that research quality is heavily dependent on the individual
skills of the researcher and influenced by the researcher's personal biases. Additionally, the
researcher's presence during data gathering, which is often unavoidable in qualitative
research, can affect the subjects' responses. As Corbin & Strauss (2008) explain,
qualitative analysis is not a process that can be rigidly codified. What it requires, above
all, is an intuitive sense of what is going on in the data; trust in the self and the research
process; and the ability to remain creative, flexible, and true to the data all at the same
time (pg. 16).
Research Approach
Hermeneutic Phenomenology
Phenomenology is about wonder, words, and world.~ Max van Manen
Hermeneutic phenomenology is the research methodology used by the researcher to record
and analyze the data presented during therapeutic art group sessions with international
students. This methodology incorporates the principles of both phenomenology and
hermeneutics. Phenomenology is the study or science of phenomena which aims to
discover the essence of experience, while hermeneutics is the study of the theory and
methodology of text interpretation.
Van Manen (2014) expresses that hermeneutic phenomenology is a method of reflection on

the elements of the lived experience of human existence. The founder of modern
phenomenology, Edmund Husserl, describes phenomenology as:
The study of consciousness, a study of phenomena as they present themselves in
consciousness as immediate experiences. In addition to what one sees, hears, smells
and touches in the world around one, phenomena also include the intangible
thoughts, memories, feelings and dreams that occur in the mental realm. (Betensky,
1995, p.1)
According to van Manen (1990), phenomenological research is the study of lived

experiences, the world as we experience it immediately, in the moment, before we take
time to reflect upon it, conceptualize, or categorize it. The aim of phenomenology is to gain
a deeper understanding of the nature of our everyday experience. Phenomenologists are
interested in the nature of subjective experience from the perspective of the research
participants themselves (Harper & Thompson, 2012).
Hermeneutics is the theory and practice of interpretation which aids phenomenological

inquiry by providing a method of interpretation. As Carpendale (2009) offers, the aim of
hermeneutics is to understand the writer or artist as well as or better than the individual
understands him or herself (p. 27). Hope & LeCoure (2010) explain in the Encyclopedia
of Case Study Research that the task of the hermeneutist is to engage in the interpretation
of texts in order to gain a deeper understanding into the behavior, actions, culture, and
communication of humans. This is done by reading between the lines or discovering the
subtext of the text.
Suitability of the Hermeneutic Phenomenological Approach

Hermeneutic Phenomenology is a suitable approach to capture the essence of the lived
experience of international students within a therapeutic art group as human experiences
are the data of human science research (van Manen, 1990). Both the artwork and the
creative process can be considered as text for exploring meaning:
Each artistic medium (painting, sculpture, music, cinematography, etc.) has its own
language of expression. Objects of art are visual, tactile, auditory, kinetic texts
texts consisting of not a verbal language but a language nevertheless, and a
language with its own grammar. Because artists are involved in giving shape to
their lived experience, the products of art are, in a sense, lived experiences
transformed into transcended configurations. (van Manen, 1990, p. 74)
Instrumental Case Study

An instrumental case study approach was chosen for this research inquiry. As defined by
Gina Grandy in the Encyclopedia of Case Study Research, an instrumental case study is
the study of a case (e.g., person, specific group, occupation, department, organization) to
provide insight into a particular issue, redraw generalizations, or build theory (2010, p.
473). The instrumental case study is a tool that facilitates understanding of a particular
phenomenon. In developing new theory or testing out existing theory, it allows researchers
to use the case as a comparative point across other cases in which the phenomenon might
be present (Grandy, 2010). The instrumental case is selected carefully, and formal
sampling may happen before selection of the case to ensure fruitful findings pertaining to
the research question. An advantage of this approach is that the instrumental case offers
thick description of a particular site, individual, group, or occupation. It is also noted that in
qualitative case studies, triangulation (e.g., drawing upon multiple perceptions/sources of
data) is a common means through which researchers increase the trustworthiness of their
representation of the case (Grandy, 2010).
International students are a specific group, as such utilizing an instrumental case study
approach to provide rich textural descriptions of the lived experience of research
participants during therapeutic art sessions is a suitable way to present the data, develop
theory, provide insight and ensure data triangulation in the process of evaluating the
research question. Although this approach is relevant and beneficial to inquiry into the
value of therapeutic art making with a particular population such as international high
school students, one limitation to this approach is that bias is unavoidable. The presence of
the researcher during sessions and in writing the case study, despite the firm intention of
bracketing personal biases, assumptions, and worldview, will have a certain impact on the
results. The use of multiple data sources will help minimize researcher bias.
Chapter Summary
Chapter Three defined and discussed the intentionality and suitability of using a qualitative
research methodology to investigate the value of group therapeutic art making with
international students. The hermeneutic phenomenological approach was described as the
method of analyzing the data in the case study; it allows the researcher to discover and
distill the essence of the lived experience of research participants. The research design of
using an instrumental case study was introduced, whereby a case study of the participants
experience is presented and used to build theory. Suitability and limitations of this
approach were discussed. Chapter Four will describe the research protocol.
CHAPTER FOUR: RESEARCH PROTOCOL
This chapter will describe the research protocol for investigating the value of a therapeutic
art group for international students. The conception and formation of The Art for Cultural
Expression and Connection group will be delineated. It will also include information on the
referral of participants; an introduction to facilitators, supervisors, and the integrated school
team; and the goals of the group. An overview of the therapeutic art group will be
provided, and a description of how the data was collected and analyzed. Ethical
considerations and limitations of the study will be included.
Formation of the Art for Cultural Expression and Connection Group

The Art for Cultural Expression and Connection (ACEC) group was conceived by the
researcher with the intention of investigating the value of therapeutic art making to support
international high school students face the challenges of living and studying overseas. The
researcher, having collaborated the previous year with the local high school counselor
during her art therapy internship was aware of a lack of programming to support
international students. She initiated contact with the high school counselor and
International Program assistant with a proposal for the ACEC group. With their support
and enthusiasm, an integrated team with a shared intention was formed.
Facilitators
The Art for Cultural Expression and Connection group was facilitated by the researcher, an
art therapy intern in her final year of training; and co-facilitated by the researchers
colleague, an art therapy intern in her first year of training. During the time this research
project was conducted, both facilitators were completing an art therapy internship as part of
requirements for graduation from the Kutenai Art Therapy Institute. The role of group
facilitators in this setting was to provide a safe environment for participants, to provide art
materials, to plan and facilitate art making and dialogue among students, to build
relationships with the participants, and to respond culturally and therapeutically to dialogue
and behaviour in the group.
It is the researchers intention to be transparent about the cultural backgrounds and spoken
languages of the facilitators in holding the group with international students. The
researcher is an English-speaking female of European descent who spent thirteen years
living in Taiwan following her post-secondary education. During her time overseas she
taught English as a Second Language (ESL) to Mandarin-speaking Taiwanese students of
all ages, including children, adolescents, and adults, and learned to speak Mandarin
Chinese. The research assistant is a Francophone of European and Indigenous descent who
speaks English as a Second Language; she and her young family left her home in Quebec
to attend the art therapy training program in western Canada. In being transparent, the
researcher wishes to identify the possibility that the backgrounds of facilitators could have
influenced both the relationships with participants as well as the data in this research
project.
Referral
Participants were referred to the Art for Cultural Expression and Connection group based
on a perceived need by the school counselor and International Program assistant for
additional support in facing the cultural, personal, social, academic and developmental
challenges of living in a host environment. It was believed that these individuals would
enjoy the creative and social aspects the group could offer. The integrated team met to refer
and discuss individuals whom they believed could benefit from the ACEC group, with a
maximum capacity of eight international students. These students were invited by the
counselor and the International Program assistant to participate. The group was framed for
students as an opportunity to explore and express cultural identity, and for self-expression
through creative art making. It was important that the group be held after school to honor
the students academic needs. The name of the art group was carefully considered in order
to convey the intentionality of the project, and to respect cross-cultural perspectives on the
concept of therapy. Although the group was facilitated by two art therapy interns, the
intention was to provide a space for cross-cultural expression and connection through art
making; it was not to suggest that those who participated were in need of therapeutic
intervention. As discussed previously, there may be a stigma attached to the word therapy
in non-Western cultures. Accordingly, the word therapy was purposefully not included in
the name.
Goals
Information regarding the specific challenges students were facing came from speaking to
the counselor and the International Program assistant, and from students responses on the
intake form designed by the researcher. (See Appendix B).
Identified challenges:
communication challenges due to varying degrees of English language
comprehension
feelings of social isolation and difficulty making friends
homesickness and challenges related to living with a homestay family
academic pressure and the need to excel compromised by language challenges
Based on the challenges and needs of the international students, goals of the group were
outlined:
to support international students with the cultural, social, personal, developmental
and academic challenges of living and studying abroad
to provide an opportunity for social connection and a sense of belonging
to explore cultural identity
to provide an opportunity for non-verbal communication through art making
to build bridges between cultures
Integrated Team Communication

The research project was supported by an integrated team consisting of the high school
counselor, the International Program assistant, the two group facilitators, and supervisors
and thesis advisors at the Kutenai Art Therapy Institute. Regular communication occurred
among the team with facilitators consulting school staff in person between sessions, and by
email and telephone during school breaks. Facilitators had bi-weekly supervision from
supervisors and thesis advisors during the research period.
Research Participants
There were originally eight International high school students from a variety of ethnic
backgrounds referred to the group, consisting of male and female adolescents aged 15 to
18, attending grades ten to twelve. The students had varying levels of English language
comprehension. Ethnicities included Chinese, South Korean, Mongolian, and German-
Mexican. All eight students attended a referral gathering to be oriented to the concept of
the group, and to be introduced to the facilitators of the group. Five of the students attended
the group once and chose not to continue due to academic commitments or a lack of
interest. From the third to the eighth session, the group was regularly attended by three
students from Mainland China. After a two-week break, three new international students
were referred to the group: one from Germany, one from Mainland China who had arrived
at the beginning of the school year, and one from South Korea who had recently arrived to
the school. These three students were asked to commit to the final four sessions of the
group in order to provide safety and stability for the original group members. One student
attended only one session, one attended all but the final session, and one student attended
all four sessions. Although eleven international students accessed the art group over the 12
sessions, this thesis will look at the participation of four students who regularly attended
the group from the time of their referral until the time of termination: one student from
Germany and three students from Mainland China.
Therapeutic Art Group Sessions

The group was held in two alternating spaces, the high school Textiles Room, and the
Foods Room. Sessions occurred weekly on Mondays after school for an hour and a half, for
a total of twelve sessions over a seventeen-week period. There was a three-week break for
winter vacation, and a two-week break in February for exams and a statutory holiday. The
group terminated at spring break.
The room was well-lit, large and spacious, with an entrance at the front of the room, and a
large storage closet at the back. Windows covered one wall, and storage cabinets the other.
There was a sink in the space. Three large tables were placed side-by-side, lengthwise, in
the center of the room, with chairs around the perimeter. A wide variety of art materials
were arranged in the center of the table including paper of various sizes, tempera paint,
drawing materials such as markers, pencil and wax crayons, oil and chalk pastels, collage
materials, glue, scissors, recycled and natural materials. A healthy was snack was offered
to participants each session.
Collecting the Data

In order to strengthen the validity of the study, multiple sources of data were utilized. Data
for the study included phenomenological descriptions of participant artwork, behaviour and
spoken narrative based on facilitator observation and session notes; images of participant
artwork; participant intake forms prior to the group beginning; participant feedback forms
at the end of sessions; and notes from meetings with the school counselor and International
Program assistant.
Analyzing the Data

Thematic Analysis
According to van Manen (2011), thematic analysis is the process of recovering structures
of meanings that are embodied and dramatized in human experience represented in a text
(Thematic Reflection section, para. 1). Thematic analysis is a method of identifying and
analysing patterns of meaning in a data set, illustrating which themes are important in the
description of the phenomenon under study. The end result of a thematic analysis should
highlight the most salient meanings present in the data set.
The researcher used van Manens (1990) selective or highlighting approach to isolate
thematic statements. In this selective reading approach, the researcher read the text of the
data and highlighted statements and phrases that seemed particularly essential or revealing
about the phenomenon or experience being described (p. 93). The researcher then looked
for recurring themes as commonalities throughout the data gathered. Themes were
identified by lifting appropriate phrases or capturing in single statements the meaning of
the themes. Through the researchers application of a thematic analysis to the rich pre-
reflective textural descriptions of the lived experience of group participants, themes
emerged from the data. In this case, the pre-reflective descriptions were in the form of a
group case study written by the researcher which included a full phenomenological
description of the twelve therapeutic art sessions facilitated with international students. Pre-
reflective descriptions included participant behaviour, dialogue and artwork based on
session notes and facilitator observations. Session notes were written by the researcher and
research assistant immediately after each session using a phenomenological writing method
which emphasized objectivity and the bracketing of assumptions by researchers.
A five-step hermeneutic phenomenological framework was utilized during the process of

thematic analysis of pre-reflective text. These steps consist of: description, reduction,
intentionality, essence and world.
Writing phenomenological descriptions of the participant art, art making process,
dialogue, and behaviour during session; as well as facilitator observations and
session notes (in the form of a case study)
Bracketing of the inevitable assumptions, biases, and judgements by the researcher
about the information gathered, in order to find the essence of the phenomena
witnessed
Looking for the intentionality and meaning for the participants and facilitators
experience within the art group
Allowing the themes that emerged to be representative of the essence of the lived
experience of participants
Taking into consideration and relating the experience of participants to their context
of being in the world
Hermeneutic Interpretation
The researcher read the texts of the pre-reflective data, highlighting words and phrases
which seemed essential to the lived experience of participants, and which held relevance to
the research question, the challenges of international students, and the goals of the group.
For each of the twelve sessions, significant themes, patterns and consistencies emerged
through the process of thematic analysis. A hermeneutic approach was then used to
interpret the data. A repeated cycle was undertaken by the researcher to scrutinize the data,
allow themes to emerge, and reflect upon the themes. The themes were then further
reflected upon, organized and distilled to a coherent and poignant set which is believed by
the researcher to reflect the essence of the experience of participants. When reflected upon
in terms of the challenges international students face, and the goals of the group, the
themes reveal the value and the specific benefits of a therapeutic art group to support
international students through the inherent challenges of living and studying in a foreign
country. It is important to note here that if this protocol was repeated by another researcher,
different themes may have been distilled. This is a characteristic of qualitative
methodology which recognizes that the subjectivity of the researcher is intrinsically
involved in each step of the research process.
Presentation of the Instrumental Case Study

The next step of the process was to present the findings in the form of an instrumental case
study. Session vignettes were developed with the intention of highlighting themes that
came forward during thematic analysis. Sessions are presented chronologically, and
although not all sessions or segments of sessions from the case study are included, artwork,
behaviour and dialogue which is relevant and connected to the thesis question is presented.
Ethical Considerations
As noted by Davis (2010), it is important to remember that international students are not
a homogenous group, and that cultural transitions are unique for each student. As such, the
researcher recognized that as a group facilitator it could be challenging to hold a culturally
sensitive and informed awareness of this factor. The researcher recognized the necessity of
supervision to explore where her biases, stereotypes, and blind spots fall in this regard.
The researcher feels that her previous and long-term role as an ESL teacher in Taiwan
could be a conflict of interest for her in the context of facilitating therapeutic art making
with a group of international students who are also ESL students, as it is her natural role
and empathic nature to want to teach, guide and encourage students as they struggle with
building language competency. She questioned and reflected throughout facilitation of the
group how her background could support her in this different role.
Disclosure of the researchers experience living in Taiwan and her ability to speak Mandarin
Chinese was an additional ethical question for the researcher. She felt that full disclosure and
honesty was necessary and could benefit participants in terms of building trust and forming a
therapeutic alliance. The researcher felt that the shared experience of living and studying in a
foreign country could allow participants to feel seen, witnessed, and understood. The
researchers approach included working in the Feminist Model whereby self-disclosure serves
to decrease the power differential between facilitator and participant and empower the
participant. Though the researcher believed full disclosure and honesty was important, she
also recognized the inherent risk involved in revealing her Mandarin-speaking ability to the
group: that it could be seen as an unfair advantage or as privileging Mandarin speakers in the
group.
Limitations of the Research

The research study may be limited in the sense that international students are not a uniform
group; each have their own unique cultural backgrounds, histories, challenges and needs.
Therefore when speaking about international students, one cannot assume that findings are
extendable across all cultures or world regions. Although students from five international
countries attended the Art for Cultural Expression and Connection group, this study only
represents participants from two countries in two world regions. Additionally, researcher bias
is unavoidable despite best intentions to bracket ones life experience, background and
language ability.
Chapter Summary
Chapter Four outlined the research protocol utilized for this research project. This included an
overview of how the Art for Cultural Expression and Connection group was conceived and
formed; the referral process for group participants; an introduction of the group facilitators,
supervisors and the integrated school team; the goals of the group; and an overview of
therapeutic art sessions. This chapter described how the data was collected and analyzed using
thematic analysis and hermeneutic interpretation; and how the findings will be presented in
the form of an instrumental case study. Ethical considerations were explored, and limitations
of the research study discussed. The data will be presented in the next chapter.
CHAPTER FIVE: PRESENTING THE FINDINGS
This chapter presents the data and findings of the twelve sessions of group therapeutic art
making with international high school students. The participants are introduced, and an
overview of the weekly sessions is given. Session vignettes are developed from the case
study to highlight themes from the data that are relevant to the research question. At the
end of each session themes are presented which were distilled using the selective
highlighting approach of thematic analysis.
An Introduction to the Participants

Although eleven international students accessed the art group over the 12 sessions, this
case study will look at the participation of four students who attended sessions regularly.
One student was from Germany, and three students were from Mainland China. The
student from Germany planned to study abroad for one school year and then return home.
The students from Mainland China all arrived in September of the school year in question
and intend to stay in Canada until they graduate from high school; they will study
internationally for two to three years. Pseudonyms were chosen to protect participant
confidentiality. Students are not introduced in any particular order.
Lina
Lina is a fifteen year old girl in the tenth grade from Germany. She arrived in Canada at the
beginning of the school year and will return home during summer vacation. She speaks
English, German and French and expressed that she joined the group because of her
interest in art and her intention to experience different kinds of art making. Lina has long
blond hair and wears glasses. She speaks quietly and smiles easily. She came to the first
three sessions on crutches due to a ski injury. She enjoyed art making, connecting with
facilitators, and speaking French with the co-facilitator.
Mei
Mei is a sixteen year old girl in the tenth grade from Mainland China. She has medium
length hair, dresses casually and wears glasses. She is enthusiastic about the art group,
enjoying art-making and connecting with peers and facilitators. She appears confident and
relaxed during sessions, chatting and laughing often. Although Mei expressed initially that
she had never done art before, she approaches art making with enthusiasm, experimenting
with a range of materials. Throughout sessions, Mei frequently made expressions such as,
my art is not perfect at all, I feel so-so, and its not very easy to do. She often
responds to Chinese peers in Mandarin when they address her in their common language,
but speaks English otherwise. Her English language skills are intermediate. Mei always
stays after session to help facilitators clean up.
Jie
Jie is a sixteen year old boy in the eleventh grade from Mainland China. He is tall and thin
with short hair and glasses. He appears shy, often avoiding eye contact and walking with
his head down. He dresses casually in track pants, t-shirts and blue sneakers. Jie often
struggles to express himself in English. His blue iPhone is always within reach; he uses it
frequently during session to consult his dictionary when he wants to learn a new word, or
translate a word he cant find expression for. Jie works hard to express himself in English
and to learn the correct pronunciation of new vocabulary. He often says he is not a good
artist. Jie approaches art making with curiosity and a sense of wonder and
experimentation. He likes the sensory experience of art making, frequently putting his
fingers in the paint and materials, and often expresses pleasure in the process. He eats his
snack with enthusiasm, regularly helping himself to seconds, and thirds. He sometimes
needs encouragement to get started with art making, and enjoys working collaboratively
with facilitators and peers. He is polite and often says thank you. He leaves session ten
minutes early to catch the bus home, and usually rushes out of the room, engaged in his art
making process until the last possible minute.
Feng
Feng is a sixteen year old boy in the tenth grade from Mainland China. He dresses casually
in jeans and sneakers, has short hair, and a shy smile. He often arrives to session saying he
is so-so. He is playful and enjoys joking and teasing his Chinese peers and facilitators.
He is outgoing, and talks and laughs a lot during session. He enjoys speaking English with
facilitators, and Mandarin Chinese with his peers. He works on his art with focus and
engagement, and enjoys drawing with pencil and colored pencils, often looking at pictures
and copying them from his iPhone. He loves Pokmon and Chinese mythology, often
talking about the characters and explaining their powers and characteristics. Feng
sometimes brings his ukulele to session and sings and plays for peers and facilitators. Feng
usually stays after session to continue making art and talking to facilitators.
Overview of the Sessions

Once a week during the twelve weeks of the Art for Cultural Expression and Connection
Group, participants arrived to group in the afternoon after class dismissal. A large table was
set up with a variety of art materials, including drawing and painting materials, plasticine,
recycled materials, found objects, and natural materials. Each session began with an
opening circle where participants were invited to check in about how they were doing on
that day. A talking stick was passed around the circle to promote taking turns to speak and
listen to one another. Participants engaged in a short opening art activity, after which they
were invited to briefly share their artwork. During the middle part of session, participants
engaged in individual art making processes, either based on an art directive suggested by
facilitators, or a project of their own interest. In early sessions, with the intention of
decreasing potential anxiety about art making, facilitators suggested art directives for
participants to follow. In addition, participants were always encouraged to experiment with
and explore art materials. It was found that participants often chose to work spontaneously,
rather than follow directives. During the last ten minutes of the session, a closing circle was
held where participants were invited to share their art process and art work if they desired.
The artwork was stored at the high school in a secure and confidential location. During the
final session, an art review was facilitated where participant artwork was displayed and
viewed by the entire group. Participants were invited to take their artwork home or to
dispose of it.
Session Vignettes
Session vignettes outlined in this chapter were designed to demonstrate the findings of the
research. Material was selected from intake and feedback forms, and from the group case
study written by the researcher which included a full phenomenological description of the
twelve sessions including participant behaviour, dialogue and artwork. The findings are
organized with the intention of highlighting significant themes that came forward during
thematic analysis. Sessions chosen for presentation are reflective of what occurred over
most of the sessions. Although not all sessions or segments of sessions are represented in
this chapter, artwork, behaviour and dialogue which are relevant and connected to the
thesis question are represented.
Pre-Sessions: Referral Gathering

A referral gathering was held by the counselor and the International Program assistant to
welcome students to the Art for Cultural Expression and Connection group, and introduce
students to the facilitators of the group. All eight students who were invited to attend the
group attended the referral gathering. The intentionality of the group was explained and the
limits of confidentiality discussed. The students were informed that the group was a closed
group, asked by the counselor to attend a trial session, and asked to make a commitment by
the third session to participate in the group for twelve weeks. The facilitators introduced
themselves to the students, briefly sharing about their backgrounds, the languages they
spoke, and their passion for art, travel and learning. Facilitators took this opportunity to
connect with students about their shared experience of having studied in a language other
than their primary language: The researcher having studied Mandarin in Taiwan, and the
co-facilitator having recently moved from Quebec where she spoke French, to western
Canada to study art therapy in English. Trays of sushi were provided by the counselor and
International assistant for everyone to share, and while they ate students were asked to
complete basic intake forms designed by the researcher (see Appendix B and Table 2
below). Intake forms inquired about name, age and languages spoken; length of intended
stay in Canada; reason for choosing to study internationally; likes and dislikes about living
in the host environment; art background experience; and current art making interests.
Students were also given a handout which outlined the intended goals for the Art for
Cultural Expression and Connection group (see Appendix C), which was read aloud by the
researcher to the students. Students were invited to ask questions, and then the gathering
was adjourned. Throughout the meeting students were generally quiet with an affect of
openness and curiosity about the art group.
Table 2.
RESULTS FROM INTAKE FORMS FOR THE ACEC GROUP
Name Feng Mei Jie Lina

Age 16 16 16 15
Grade 10 10 11 10
Country of Origin China China China Germany
Languages Spoken "Chinese & a "Chinese, "Chinese" "English,
little English" German,
English" French"
Length of intended stay in 3 years 3 years 3 years 7 months
Canada
Number of people in Family _/3 3/_ 3/_ 3/5
of Origin/ Homestay Family
Reason for Studying "I love "Because this "Relax, "I wanted to
Internationally Canada" is better" beautiful" learn English
and to travel
to Canada."
Hopes in coming to Canada "Good for "Make some "Make my "Speak better
my English" friends" English English and
better" be more open
to
experience."
Like about being in Canada "Beautiful "Weather" "Relax" "Everybody
space, nice is open and
classmate & friendly."
teacher"
Dislike about being in "Nothing" "Miss home, "Some "My family
Canada make friends food" and friends
difficult, are not here."
don't have
good
English"
Past Art Experience Drawing, Clay Painting,
Painting, Sewing
Clay
Art Interests "Drawing, Drawing Photograph All different
painting y kinds
and "
Session One: Welcome

There were six international students present for the first session: the three Chinese
students who attended regularly throughout the twelve sessions: Jie, Mei and Feng; and
three students who attended only one session: a girl from Mongolia, a girl from South
Korea, and a boy who was German-Mexican. As this was the first session, facilitators
introduced the limits of confidentiality and the group norms for the group which included
safety, respect, and fun. A conversation around the topic of what is art? took place with
the intention of distinguishing between the concepts of fine art and art for self-
expression. Students were then invited to check in about how they were doing. The
students were generally attentive and quiet, appearing curious and enthusiastic about the
group, and saying little in the opening circle. During this session students created name
tags and introduced themselves, engaged in warm-up art activities working in pairs, and
created spontaneous art while talking with one another and facilitators. The intention of the
session was to begin building relationship between participants and facilitators, to decrease
anxiety about art making, and to relax and have fun.
Session Three: Collaborative Art

As the co-facilitator was ill, the researcher facilitated the group by herself. There were
three participants for the third session, compatriots Mei, Feng, and Jie. The students
seemed to be more comfortable, expressive and at-ease during this session as compared to
the previous two sessions with other international students present. The students made art,
and interacted and spoke with each other and with the researcher, both in Mandarin and
English. The students laughed, were playful and experimentative, expressing pleasure in art
making. They talked and shared a lot with the researcher. During check-in, all three
students said that they were doing so-so. The students were invited to take some time to
explore the different art materials available for use, and to experiment with materials they
had never used before. Students were invited to make a piece of art about home and what
it meant to them, or engage in spontaneous art making. Students all expressed interest in
beginning their own projects.
ART ACTIVITY
Spontaneous Art
Mei expressed that she wanted to do spontaneous art, saying, We can do anything? Feng
and Mei both said they wanted to draw. While Feng and Mei worked on spontaneous
drawings, Jie sat quietly, seeming unsure about how to get started. He mirrored Feng by
searching on his iPhone for an image to draw on circular paper. He chose a yellow
emoticon face with eyes looking to the side and blushing cheeks. The researcher asked Jie
what kind of facial expression was being portrayed in the emoticon. The three students
discussed in Mandarin but could not agree on an English translation. Jie abandoned the art
idea. The researcher invited Jie to do a collaborative painting, and set up a place to stand
side by side at the table with a large piece of paper. Jie was invited by the researcher to
choose paint colors, and as the researcher poured the paint into the palette, Jie seemed
concerned with waste, indicating that the quantity was too much. A visual conversation
began by the researcher painting, Hi, J, (J is the first initial of Jies English name) in
yellow paint. Jie responded by painting a purple arc over the J. The researcher and Jie
took turns adding elements to the painting, mirroring one another. The researcher added a
heart, and Jie added a heart. When the researcher initiated a border, Jie added one on his
side. Jie made noises of wow and repeated the word crazy several times. The
researcher modeled mixing of colors in the palette, and Jie began experimenting with
mixing and dripping paint onto the page, becoming more playful; soon all the colors were
mixed and the palette was black. The researcher began finger painting and Jie followed.
Footprints were collaboratively created in the top right-hand corner. Painting her hand,
the researcher asked Jie if she should make a handprint. Jie indicated yes by nodding his
head and pointed to a circular piece of white paper, where the researcher made a handprint.
Jie was invited to make a print as well; he asked the researcher to paint his hand, using the
black paint on the palette. Jie then added blue in the palette. With a paintbrush, the
researcher painted Jies hand black. Jie painted gold directly on his thumb, then pressed his
hand onto the circular paper. He called the handprint piece, Ghost, (See Figure 1), and
the collaborative art piece, Crazy Paper (See Figure 2).
Figure 1: Jie & Researchers: Ghost
Figure 2: Jie & Researchers: Crazy Paper
After this collaborative piece, Jie began painting a black tree on a new piece of paper. Mei
had put red and green paint in a palette and was standing up, having completed a painting
she called A tree with flowers and leaves, through a window (See Figure 3). Jie began
dipping his fingers into Meis palette and pressing fingerprints onto the page, making
leaves on the tree he had painted. Mei joined Jie and they collaboratively filled the tree
with red and green fingerprint leaves. When this was complete Jie began rushing to leave
session, almost late for his bus. Asked by the researcher for a title for the tree piece, Jie
quickly called out Happy Tree Friends, from the TV show, as he shrugged on his
jacket and grabbed his backpack (See Figure 4).
Figure 3: Meis: A tree with flowers and leaves, through a window
Figure 4: Jie & Meis: Happy Tree Friends

Standing next to one another and noticing the leftover red paint in the palette, the
researcher invited Mei to do a collaborative painting. The researcher began with a wavy red
line starting at the bottom right of the page and moving up. Mei created a similar line
starting from the mid-left edge of the page, moving towards the center, adding a spiral at
the end. The researcher and Mei took turns adding spiral lines to their vine-like patterns.
The researcher added a pair of lips and Mei, excited, said that she wanted to learn to draw
lips. Mei practiced painting lips until she was satisfied with the outcome (See Figure 5).
Figure 5: Mei & Researchers: Untitled
Thematic Analysis of Session # 3:

This session highlights the themes of: co-creation and collaborative art making; as well as
laughter, experimentation and play.
Session Four: Cultural Differences in Education

Feng arrived first to session and sat in the same spot as the previous week. Jie arrived and
as he was deciding where to sit, Feng clearly indicated which spot was Meis. Jie sat down
and began eating his popcorn, picking up the napkin from inside the bowl and bringing it to
his mouth, eating the popcorn directly from the napkin. Mei arrived a few minutes late and
quickly sat down, appearing enthusiastic for group. Group began with an Opening circle to
check in. Mei expressed that she was so-so because although she got 100% in math, she
had to participate in dance in Physical Education class, which she doesnt like. Feng
expressed that he also had dance class, which he really didnt like because he had to hold a
girls hand and put his other hand on her waist. This he indicated with a gesture, looking
shy and uncomfortable. Jie echoed the others, saying that he was so-so, and also did not
like the dance theme in PE class. Facilitators listened to the concerns voiced by students,
holding space for their feelings and normalizing for students the difficulty of adapting to
different academic expectations from their home country.
ART ACTIVITY # 1
Goop
After checking in, the students were invited to make goop, a sensory play activity that is
made by mixing corn starch and water until the desired consistency is reached. The co-
facilitator poured corn starch into a bowl and invited the students to each feel the powder
and to express what they felt. Mei said it feels like nothing but like something at the same
time, Feng commented on the softness, and Jie echoed the others. The co-facilitator then
asked each student to take turns adding corn starch and water to the bowl, and to take turns
mixing it. Once the goop was ready, she held the bowl upside down and poured it onto the
table. The students were excited and amazed at the properties of the goop, picking it up,
feeling it liquefy and pour through their fingers, and feeling it harden on the table top. They
played with enthusiasm, curiosity and experimentation, expressing pleasure at the sensory
experience. Markers and paper were introduced by the co-facilitator, and the students
experimented with drawing on the goop, and pressing paper onto it to make prints. The
researcher traced her hand in blue, and Jie mirrored this action by tracing his own hand in
green and making a print of it. Feng drew a face with blue marker and after printing it
expressed that it looked like a mad face (See Figure 6), although he said he had not
intended it to. Mei experimented with drawing symbols and emoticons. She made six prints
in total and named four of them as a heart, someone crying, someone angry, and a
mouse sleeping (See Figure 7). The students continued playing with the goop,
experimenting with drawing on it and mixing the colors. They playfully teased one another,
allowing the goop to drip onto one anothers hands, seeming to enjoy the contact.
When Mei and Feng were finished with the activity they washed their hands and returned
to the large table to begin other art making activities. Jie continued to play with the goop,
accompanied by the researcher. Jie asked the researcher about the pronunciation of several
words, including the word skull. The researcher wrote the words onto the goop with
markers as the vocabulary were discussed. Jie continued mixing the colors until the goop
was mostly brown, then he transitioned back to the table with the others.
Figure 6: Jies Mad face

Figure 7: Meis: A heart, Someone Crying, Someone Angry, and A Mouse

Sleeping
Thematic Analysis of Session # 4: Part One:

During this session students expressed and explored cultural differences within education;
expressed academic, personal and social challenges; and utilized the art activity to
practice English and learn new vocabulary.
Session Four: Two Worlds
ART ACTIVITY # 2
Spontaneous Art
Once students were finished with the goop activity, they were invited to use the remainder
of the session to make spontaneous art. Jie worked with plasticine, and Mei folded paper
origami. For the purpose of this session vignette the artwork and participation of Feng will
be focused on. Feng decided to continue working on his Pokmon artwork from the
previous week; he had planned to use pencil crayon in the foreground and paint in the
background. He decided that the set of pencil crayons offered didnt have enough color
variety, and that he would bring his own pencil crayons the following week. Feng selected
a large piece of white paper and using orange paint he wrote the two Chinese characters for
the word China. He talked about calligraphy brushes used for writing characters, saying
this brush isnt the same as we use. He circled the first character, and crossed out
the second character, , saying that the first was written well, and I dont like the way
this one looks, referring to the second. He rewrote each character, expressing that the
second attempt was more satisfactory (See Figure 8). While writing calligraphy, he began
talking about the situation of his homestay family, which he continued talking about
throughout the creation of his second painting. With orange, copper and gold paint, Feng
painted a Pokmon character that he said was cool because of its special powers: the ability
to live in two environments, swimming under the sea and flying in the sky (See Figure 9).
Feng expressed that he feels unhappy with his current homestay family for a variety of
reasons, and that he wants to change families. He said he feels unwelcome, describing
how at dinner everyone in the family gets two portions of meat but he only gets one. He
feels pressure and expectation from the family to participate in family time and play with
his six year old homestay brother. He feels a lack of freedom to do what he wants, which
he says is to spend time alone in his room and play video games. He expressed that he
didnt want to complain to the International Program assistant because it was buhao yisi,
which is a Mandarin phrase meaning to feel embarrassed and sorry for inconveniencing
someone. He expressed that he and his homestay family clearly had different thinking
about a lot of things. While sharing these feelings Fengs affect was low and he seemed
frustrated. He said that his painting wasnt very perfect. Feng stayed after session to
complete his painting. He told facilitators he was going to walk the forty-five minutes
home after session, even though it was cold and dark outside, rather than ask for a ride
from his homestay parents.
Figure 8: Fengs Calligraphy: China
Figure 9: Fengs: Pokmon Character
Thematic Analysis of Session # 4: Part Two:

During the session Feng expressed personal and social challenges he was experiencing
while living with his homestay family. Through the creative process, Feng explored
elements of his cultural heritage and language.
Session Five: Building Linguistic and Cultural Literacy

Jie was the sole participant of this final session before the three week winter vacation. He
arrived on-time, wearing his blue sneakers and his Canada, eh? t-shirt. In response to the
facilitators inquiry about the absence of his peers, he responded they arent coming. Jie
was hesitant to sit at first, and only did so after the two facilitators sat down. As this was
the final session before the winter vacation, the intention was to provide a fun and different
experience with edible art, and an experience of creating decorations relevant to the host
countrys winter vacation that could be kept or given away as gifts.
ART ACTIVITY #1
Mixing an Edible Palette
A plate was prepared in advance with five portions of vanilla icing arranged in a circular
palette to represent paint. Food coloring was provided. Jie was invited to experiment
with mixing colors on this palette, and to use twizzlers (licorice candy) as a paintbrush.
Jie used a stabbing action to mix colors. He engaged with curiosity and experimentation in
the process, creating a bold blue, red and green, as well as a yellow-green. He was hesitant
to use his fingers to pick up the licorice candy, concerned about touching his food with
dirty hands. He chose orange and yellow twizzlers, briefly tasted the icing, and poured
his popcorn onto the mixed palette (See Figure 10).
Figure 10: Jies: Edible Palette

ART ACTIVITY #2
Wreath with Natural Materials
Working collaboratively with the co-facilitator, Jie actively engaged in creating a wreath.
He was excited about the process, asking how long will it keep? He formed a circle with
a cedar bough, tied it in place, and decorated it by adding a dried maple leaf, walnut shell,
and holly with hot glue (See Figure 11 and 12). He hummed a Christmas carol while he
worked, and sang along with the researcher and co-facilitator the words of We wish you a
Merry Christmas. A discussion ensued about what how Christmas was celebrated in
China. Jie said he was going to keep his wreath in his room, and expressed satisfaction and
pride in the finished product. During the session, there was a lot of discussion about
English vocabulary and pronunciation, and differences between the languages of English
and Chinese. Jie actively learned the following new vocabulary from facilitators: brave,
syllable, pinyin, wreath, holly, licorice, neon, edible, and curious. It was
noted that Jies behaviour was different during this session as the only participant. He
seemed more relaxed and comfortable expressing himself then in previous sessions. As
according to his usual behaviour he was very polite, saying thank you to each of the
facilitators. Jie expressed pleasure in art making during the session, and especially enjoyed
making the wreath. He said he was going to take it home and hang it on his bedroom door.
Figure 11: Natural Materials

Figure 12: Jies: Wreath
Thematic Analysis of Session #5:

During this session Jie engaged in collaborative art making with facilitators, practiced
English language skills and explored cultural traditions of the host countrys winter
vacation through the art making process.
Session Seven: Pride in the Artwork

The artwork of Feng will be highlighted from this session. However, it is Fengs creative
process outside of session that will be presented. The three regular participants all attended
the session: Jie, Mei and Feng. Jie arrived with enthusiasm for the group, greeting
facilitators energetically and announcing that he needed to leave early to go shopping with
Feng. He expressed that he had gone sledding on the weekend, and that it was boring.
Mei apologized for missing the previous session. During the opening check-in she said that
she didnt go out during the Christmas holiday, saying it was not very bad. Feng arrived
late for session from his previous class, his affect high. After checking in and before
beginning the art activity, Feng was enthusiastic and happy to share the drawings in his
sketchbook with facilitators and peers (See Figure 13). He proudly asked facilitators to take
photographs of his drawings while everyone gave their attention to Feng and his art work.
Facilitators asked about his drawings and Feng responded that they were Pokmon
characters. He shared that the Chinese characters in the last two drawings translated to
Chemistry, and Chemical Engineering, respectively. Feng also spoke excitedly about
learning to play the ukulele. After participating in the art activity, Feng and Jie left session
early to go shopping for Fengs new ukulele.
Figure 13: Fengs: Drawings

During session seven Feng expressed pride in his artwork by bringing his sketchbook to
session to share with facilitators and peers.
Session Eight: Empowerment through Being Witnessed

Mei and Jie were present for session eight. The context of the group will first be provided,
then the artwork of Mei will be highlighted for this session. Mei arrived to session early,
bringing a Chinese friend to introduce to facilitators. Her friend expressed interest in
joining the art group. Facilitators spoke with her, explaining that the group was a closed
group with a possibility of new referrals after exams. During check-in, Mei expressed that
she was feeling so-so due to the pressure of having two tests the next day. She said she
was considering just not going to one of them. Jie spoke during the Opening circle about
going to a hockey game by himself. He said that he enjoys hockey but did not enjoy going
by himself. He was playful during the session, more talkative than usual, joking with
facilitators and pretending to eat paint and wax crayons.
For the first half of the session, Mei and Jie both participated in a collaborative painting
activity with facilitators. Mei grew irritated by Jie when he drew on her portion of the
collaborative painting without asking her permission. When the activity was complete, Jie
left early and Mei remained as the sole participant.
ART ACTIVITY
Spontaneous Art
Mei was the only participant present for the second half of session. She used this time to
make art with facilitators. She was very excited, jumping up and down when she saw the
jewelry wire and tools that the co-facilitator had prepared for her, based on Mei expressing
interest in jewelry-making in a previous session. Mei began making rings. Facilitators
observed and asked Mei to teach them. Mei was shy and hesitant to teach at first, but
seemed pleased with the activity. She showed facilitators how to make rings out of the
black and gold wire. For the remainder of the session the three worked side by side, each
creating her own rings. Mei made two rings, one with black wire and the other with both
gold and black wire (See Figures 14 and 15). She took a piece of the black wire home to
continue the project.
Figure 14: Meis and Facilitators: Handmade Rings
Figure 15: Meis: Rings

During the session Mei connected with facilitators through teaching her jewelry making
skills, and practicing English and social skills. Mei was witnessed by facilitators in her
creative process.
Session Nine: Cultural Norms

This was the first session after a two week break for school exams and a statutory holiday.
Six students were in attendance: Jie, Mei, and Feng, as well as three new participants who
were invited to join the group. New participants were asked to commit to the three
remaining sessions in order to maintain the safety of the container that had been created for
the three original participants. The new participants were: Lina from Germany, who will
appear in session eleven; Liu from Mainland China; and Sung from South Korea. Though
introduced in this session, the participation of Liu and Sung will not be used as data in this
thesis. For the purpose of highlighting data relevant to the thesis question, the behaviour
and artwork of Jie and Feng will be focused on for this session. The context of the group
and participants will first be provided.
An opening circle was held during which students and facilitators introduced themselves,
group norms were reviewed, a discussion about what is art? was facilitated, and new
participants signed consent forms.
Lina arrived to session on crutches due to a recent ski injury. Her affect was friendly and
quiet. She expressed that she was happy to be able to join the group. During the session she
spoke about German language, customs and food; her family of origin; and her relationship
with other German international students. She was very engaged in art making, working
carefully and thoroughly.
Liu was very enthusiastic about the opportunity to join the art group. With a smiling and
friendly affect, she socialized with peers and facilitators. During the session, Liu paid
compliments to facilitators, saying I like your She was talkative during the session and
engaged in her art making process. She spoke about celebrating Christmas in China with
family and friends.
Sung presented with a quiet and independent affect. He smiled and responded to questions
from facilitators, though he did not engage other participants in conversation. He spoke
about celebrating Christmas and Lunar New Year in South Korea; and about the Lunar
New Year custom of elders giving money to the younger generation. During art making he
asked the co-facilitator, Have you been to Korea?
Mei expressed that she was afraid she hadnt done well on her exams. She appeared
energetic and enthusiastic about making art during the session. Mei grew irritated when
Chinese peers were speaking in Mandarin, asking them to speak in English so other
group members could understand.
Jie went directly to the snack table upon entering the room, collecting a glass of juice and a
bowl of popcorn, then sat down and began playing with two pairs of scissors in a way he
had done before. He ate his popcorn hands-free, by eating directly from the basket as in
previous sessions.
Feng arrived with a smile and apologized for having missed the previous session. He was
talkative throughout the session, engaged in art making and connecting with peers and
facilitators through dialogue. He enjoyed laughing and joking playfully.
ART ACTIVITY
Lantern Making
The high school International Program was hosting a Lunar New Year celebration the
following week where international students would share cultural food and activities from
their country of origin with local students. In alignment with the celebration, facilitators
chose to introduce a lantern making activity to honor the Lunar New Year and to give
participants an opportunity to talk about the significant holidays in their own cultures.
Group members were invited to participate in the lantern making directive, and welcomed
to engage in spontaneous art if desired. All six participants chose to create lanterns.
During the session participants were sharing two hot glue guns that were plugged in above
the table (See Figure 16). The researcher noticed that Jie and Feng were reaching in front
of other participants for the glue guns rather than asking for them to be passed. The
researcher took this opportunity to initiate a dialogue about how to ask for something out of
ones reach when sitting at a table. Jie expressed that its hard to ask for something to be
passed and prefers to reach for it. During the discussion, Feng spoke a lot about Canadian
manners and etiquette being too much, calling them rules to follow and seeming
perplexed by them. He expressed irritation towards his homestay family insisting that he
ask for things to be passed at the table. He said that in China when you want something,
you stand up and reach for it. He talked about other challenges with his homestay family
and his desire to change families. Feng shared his popcorn with Mei, and spoke
Mandarin to Chinese peers throughout the session. Feng had brought his ukulele to session
and played two songs that he was learning: an English popular song and a Chinese song.
Figure 16: Art Making

Jie chose to make a pentagonal shaped lantern using craft sticks for the base and top, long
sticks at the joints, and twigs on top to form a star shape (See Figure 17). He secured the
joints using hot glue and masking tape. He worked independently while forming the
structure, and asked for help from a facilitator to wrap red tissue paper around the lantern,
covering half by the end of the session. Jie seemed to be pleased with the result, and
expressed the intention to complete it the following week.
Figure 17: Jies: Lantern
Feng created a hexagonal structure using craft sticks to form the base and the top of his
lantern, securing pieces using hot glue (See Figure 18). He added long sticks at the joints
with hot glue, then glued the top on. He held it under his arm and said it was like a bag, and
indicated that hed like to put a handle at the top and on the side, to carry it with. He said
he intended to finish it the following week.
Figure 18: Fengs: Lantern

This session highlights the theme of exploring cultural differences in social behaviour and
etiquette.
Session Eleven: Group Portrait

Five participants were present for this session: Lina, Liu, Feng, Mei and Jie. An Opening
circle was facilitated to allow participants to check in. As this was the second to last
session and a celebration was planned for the following week, participants were reminded
that this would be the last session to make art; remaining projects could be completed or
spontaneous art made. During the session there was a lot of discussion about food as plans
were made for the closing party. The students decided to have a hot pot party and
everyone would contribute something.
Although this session highlights the behaviour and artwork of Feng in the first part, and
Lina in the second part, the context of the session and participants will first be provided.
Liu said she had a test the next day and expressed that she did not like homework,
especially Canadian politics. She said that she had fun on the weekend with another
group participant, and was enthusiastic to make art.
Lina arrived for session smiling, still walking on crutches, and said its so sad that this is
the last class. During the session she talked about typical German food, and about festivals
that her community celebrated each year. She told the group she wanted to bake her
mothers bread recipe and share it with them the following week. At the end of session,
Lina thanked the facilitators for holding the group.
Jies affect was quieter during this session. He spoke and interacted minimally, making
little eye contact with others. He appeared frustrated making himself understood. He spoke
in a low voice, not enunciating himself clearly and others asked him to repeat himself
several times. He worked independently with focus and engagement on his art, and
attention to detail. He left early to catch the bus, working on his art until the last possible
moment.
Mei expressed during opening check-in that she was not very bad, and talked about a TV
show that she had been watching recently. Throughout session, Mei was engaged in the art
making process, working experimentatively and with excitement about a new technique
and a new art activity. She worked together with facilitators, conversed bilingually with
peers, and stayed late after session to finish her art. She expressed disappointment in her art
product not being perfect.
Feng walked into session stomping his feet loudly. During opening check-in he expressed
that he had lots of things he needed to take care of, including too much homework.
He was upset due to a miscommunication--he had not known about a homework
requirement for math class, and he was behind. He felt anxious about needing to catch up
on his work, and frustrated about the misunderstanding. Feng expressed happiness about
his new homestay situation. He had moved on the weekend and was living with a single
woman with no children. His new home was near school, and it was convenient for him to
walk places. He showed facilitators photos of his new room, and talked about looking
forward to going to a farm with his homestay mom after school that day. During the
session he was talkative and playful with both peers and facilitators.
ART ACTIVITY
Spontaneous Art
Feng spent the greater part of the session working on a pencil drawing in cartoon style of
the people in the art group (See Figure 19). He drew all the members of the group,
including facilitators, with attention to details of facial features, hairstyle, clothing, and
accessories. He began by drawing the researcher in the center of the page, depicting her
with a smile, arms at her side, and eyes with eyelashes. To the right of the researcher, with
a gap between them, he drew the co-facilitator, also smiling, with one arm across her chest
and a detailed depiction of her hairstyle. He drew the other three female participants, two
on the left of the researcher and one to the right of the co-facilitator, smiling and standing
with arms in various postures. Next he depicted the male participant and himself in the
back row, with a large gap between them. Jie was portrayed holding a basket of popcorn up
to his mouth with pieces of popcorn flying out the sides. Feng depicted himself standing
behind and between the facilitators, featureless with a question mark in place of the face,
and shading on the body and face. Feng scrutinized his work, expressing that the gap
between the researcher and co-facilitator was larger than he had intended.
Figure 19: Fengs: Group Portrait

Thematic Analysis of Session #11: Part One:

Through the creative process Feng expressed his experience of being part of a group.
Session Eleven: Gratitude and Gift-Giving
ART ACTIVITY
Spontaneous Art
Linas participation in session eleven will be highlighted in this section. On 4x6 cardstock,
Lina painted a blue background with brush strokes going horizontally across the page (See
Figure 20). She painted a green stem in the bottom center of the paper, which branched out
into four main branches, with smaller shoots going off to the edge of the page. She painted
flowers in pink and gold at the ends of all the branches. Using a cardboard frame which
had been made by the co-facilitator as an example, Lina created a frame for the picture she
had painted. She painted the frame gold. When dry, she painted a coat of purple over top,
then scratched the purple paint to make a wavy line on each side of the frame and spirals at
the corners. Lina said she was going to give the picture to the nurses at the hospital who
really took care of me when she had injured herself skiing.
Figure 20: Linas: Gift for the Nurses

Thematic Analysis of Session #11: Part Two:

Lina creatively expressed her feelings of gratitude for the care the nurses had given her.
Lina also verbally expressed her gratitude to facilitators for holding the art group.
Session Twelve: Sharing a Meal

For the final session of the Art for Cultural Expression and Connection group, participants
decided to celebrate by preparing and sharing a meal together. Discussion had occurred
about whether to have a potluck meal where each person brought a dish, or to prepare a
traditional Chinese Hot Pot meal. The Chinese students were very excited for the second
option and enthusiastic to share this experience with their German peer. Lina was open to
the idea and agreed. As the room schedule had been alternating between the Sewing Room
and Foods Room throughout the semester, participants were surprised that they were
scheduled to be in the Foods Room during this session.
Arriving to Session
Students arrived to session with high energies, excited to share food, and also expressing
mixed emotions about the ending of the art group. Lina arrived first to the session, walking
without her crutches for the first time since she had begun the art group. As soon as Feng
arrived he expressed, Its sad. Its the last day. Mei and Jie arrived next. Mei was angry,
expressing annoyance at Jie for opening the popcorn she had brought for the meal and
sharing it with others without her permission. She voiced this concern to facilitators and to
Jie. Jie responded by saying there was lots and that he wanted to share. Mei was very
excited about the closing party, and about the snacks of candy, jujubes and chocolate that
she contributed in addition to the popcorn. Jie was very excited to contribute shrimp
dumplings for the Hot Pot, and to share the meal together.
Opening circle
An Opening circle was held to allow participants to check in about how they were feeling.
Lina said she was grateful for the group and wished it could be longer. Mei expressed
feeling sad at it being the last session. She said she liked the ACEC group because it was
different from everything else we do. Feng expressed, with rising emotion, This is not
just an art class, but a place where we can talk about things that are happening in school.
Jie was quiet during Opening circle.
Feedback Forms
Feedback forms (See Appendix D and Table 3) were distributed and filled out together
with the researcher reading the questions aloud to ensure participants had a clear
understanding of the language. Lina filled out the feedback form very quickly, and helped
facilitators explain the phrase respect to Chinese peers while forms were being
completed. Lina commented, I really liked the group, it was very interesting to do all these
different kinds of arts. I enjoyed talking to you. It was just a little bit sad that I just came
into it so late. Mei also completed the feedback form quickly, checking the dictionary on
her iPhone to translate unfamiliar vocabulary. Mei expressed that she would like to learn
French, then engaged with the co-facilitator, learning a few French phrases. On the
feedback form when asked if she would like to join another art group Mei said no,
expressing: I want to study French. Jie took his time filling out the feedback form, saying
its no problem, I can do it in two minutes. His peers were annoyed at his slow pace, and
wanted to begin the art review. Feng completed the feedback form using all superlatives,
expressing that theres nothing I didnt like. On the feedback form under additional
comments, Feng said: Ill miss you! Its so good!
Table 3.
FEEDBACK FORMS FOR ACEC GROUP

Lina Feng Mei Jie
1) Reason for coming to the group:
Experiment with art materials Yes Yes Yes Yes
Be creative Yes Yes Yes Yes
Relaxation & enjoyment Yes Yes Yes Yes
Get used to new country & Not sure Yes Yes Not sure
culture
Improve communication No Yes Yes Yes
skills
Explore cultural differences Not sure Yes Yes Yes
& similarities
Make new friends Not sure Yes No No
Express thoughts & feelings Yes Yes Yes Yes

Learn more about myself Not sure Yes Yes Yes/no
Other reasons were: I like art Find some
fun
2) I enjoyed making art Definitely Definitely Definitely Definitely
3) Making art was relaxing Definitely Definitely Definitely Definitely
for me
4) I learned new skills in Definitely Definitely Definitely Definitely
making art
5) I felt accepted & Definitely Definitely Definitely Definitely
understood by facilitators
6) I felt safe in the group Somewhat Definitely Definitely Definitely
7) I felt respected in the Definitely Definitely Definitely Definitely
group
8) I had fun in the group Definitely Definitely Definitely Definitely
9) I felt a sense of belonging Definitely Definitely Definitely Definitely
in the group
10) I learned skills to help Somewhat Definitely Definitely Definitely
me adjust & feel more
comfortable in Canadian
culture
11) I was able to share Somewhat & Definitely Definitely Definitely
about my country & culture definitely
in the group
12) Adjusting to living in a Difficult Challenging Easy Challenging
new culture & language is:
13) The art group was Somewhat Definitely Definitely Definitely
helpful for me in adjusting
to a new culture and
language
14) Having facilitators who Relaxing Relaxing Relaxing Not
more than one language significant/
was: Relaxing
15) My favorite things Having so Relax, People are Ok. All
about the Art Group: much kind, friendly
material & helpful,
people to think
speak to
16) What I did not like It should be Nothing It is too I dont
about the Art Group: longer short need. I just
want to find
more things
to do
without
internet
17) Suggestions for the Art It could be Art group More

Group: longer more long snacks
time
18) a) I would like to Not sure Yes No Yes
participate in another Art
Group:
18) b) With: Both Both Both Both
International Internationa Internationa Internationa
& Canadian l& l& l&
students Canadian Canadian Canadian
students students students
19) Lina I really liked the group, it was very interesting to do all these different
Additi kinds of arts. I enjoyed talking to you. It was just a little bit sad that I just
onal came into it so late.
Comm Feng Ill miss you! Its so good!
ents
Jie "Bye."
Mei I want to study French.
Highlighting data from the feedback form, there were four categories of motivation for
joining the art group, and experience within the group: social; cultural; personal; and for
relaxation and fun. According to student responses, making new friends was not a general
motivation for joining the art group, though improving communication skills was. Students
responded affirmatively to the cultural component as a reason for joining the group,
expressing that they hoped the group could help them adapt to a new country and culture,
and give them an opportunity for cultural expression and exploration. In terms of personal
motivation, students all named a desire to express thoughts and feelings, and learn more
about themselves as a reason for attending the group. All students expressed a desire to
experiment with art materials, be creative, relax and have fun as reasons for joining the art
group. Other reasons included: I like art, (Feng) and find some fun (Jie).
In terms of their experience in the group, students all expressed that they felt a sense of
belonging, safety and respect in the group, and that they felt accepted and understood by
facilitators. Culturally, in response to their experience of adjusting to living in a new
culture and language, students expressed feeling a range from easy to difficult. Students
generally felt that the group allowed them to share about their country and culture, and that
is was helpful for them in adjusting and feeling more comfortable in Canadian culture. All
students expressed that making art was fun, relaxing and enjoyable to them. In terms of
group facilitation, participants generally felt that having multi-lingual facilitators helped
them to feel more relaxed. Students expressed that if they were to join another Art Group,
they would prefer to attend a group with both international and Canadian student
participants. Suggestions for the Art Group were to extend the number of sessions.
Participants expressed that their favorite things about the Art Group were: Having so
much material & people to speak to, Relax, kind, helpful, think, People are friendly,
and Ok. All. There was nothing participants did not like about the Art Group, only that
the length of time was too short.
Art Review
When forms were complete, an Art Review was facilitated: before session, the facilitators
had laid out each participants artwork in an area of the room. Time was taken as a group to
look at the art of each individual. Students were invited to take their art home or recycle it.
Mei had brought three pieces of art back for the art review which she had taken home. Mei
selected a few pieces of art to keep and chose to recycle the remainder. Lina chose to take
all her art home. Jie cut out one part of a painting to take home with him, and recycled the
remainder of his art. During his Art Review, Feng criticized his art and compared it to the
art of his peers. He chose to keep only his red Chinese lantern, recycling the rest of his art.
He said, Everything I did was ugly; others art is better, and its not art.
Meal Preparation
Everyone was excited to begin food preparation. During preparation of the meal, Mei took
the traditional role of host or mother, washing and chopping vegetables and delegating
jobs. Students and facilitators worked together to wash vegetables, put food on plates, and
set the table. Lina shared her experience of making a traditional German loaf of bread to
contribute to the meal, saying it was the first time she had done it by herself. She talked
about using her mothers recipe, and explained the process.
Sharing the Meal

Hot Pot is a traditional Chinese dish shared by families during the winter and especially
during times of celebration such as the Lunar New Year. (See Figure 21). A soup is
prepared in a pot and put in the center of the table on a hotplate. Throughout the meal, meat
and vegetables are added to the pot, removed when cooked, then dipped into sauces and
eaten. Feng was very excited about the Chinese food items he bought at the Chinese
grocery store to contribute to the Hot Pot. During the meal, Mei continued to take the role
of host, adding food to the hot pot, managing cooking times, and distributing cooked
food to others bowls. During the cooking process Feng grew irritated by Meis method of
tending the Hot Pot. He raised his voice at her, saying in Mandarin that she was too
nervous and controlling and that she should relax and go with the flow because it didnt
matter which food items went into the pot in which order. She defended herself and an
argument occurred between them, both of them angry and frustrated. Their voices rose in
volume as they quarreled in Mandarin. The argument escalated to include words of English
profanity. The rest of the group held space for this dynamic. Jie quietly repeated, Stop it.
The researcher attempted to intervene to end the conflict, and then said some words to
normalize and contextualize their experience, that perhaps there were mixed feelings due to
the end of the art group. Mei and Feng settled down again. Afterwards, Feng was briefly
silent and sullen, then returned to his humorous, outgoing nature. Everyone recovered and
continued to enjoy the experience. During the meal Lina was calm and quiet, eating with a
spoon, and showing curiosity about the Chinese Hot Pot, sampling the things that peers
gave her to eat. She received meat and vegetables that facilitators and peers placed with
chopsticks into her bowl from the Hot Pot. During a conversation about language, Lina
shared some German words with the group, and spoke French with the co-facilitator.
During the meal Jie sat quietly at the head of the table and seemed to enjoy the Hot Pot.
During a conversation about language, Jie practiced some French phrases with the co-
facilitator. As the meal took longer than anticipated, Jie had to arrange to take a later bus
and checked the bus schedule on his iPhone. When it was time to catch the bus, he left
quickly, asking facilitators to pack some cooked meat for him, and giving the leftover
package of shrimp dumplings to the researcher to take home. Feng was enthusiastic to
share with everyone, insisting that Lina try each special item, and sent leftover packages
home with the researcher. He expressed that the meal was authentically Chinese, and that
he hadnt eaten Hot Pot since being in Canada. He wanted to take leftovers to eat the next
day, saying You will miss this tomorrow at lunchtime. Throughout the session Feng
expressed feelings about not wanting the group to come to a close. He asked facilitators,
Where are you going after this? He also said, I want to see somebody cry. He stayed
close to the researchers side throughout the session. Lina left first while the others were
still eating, inviting peers and facilitators to take a group picture together beforehand. After
Lina left, Feng expressed disappointment that the Hot Pot was finally at its best stage and
said, She didnt get to experience it this way.
Figure 21: Sharing a Meal
Cleaning Up and Closing

The session went much later than expected. After eating, Feng sat nearby, chatting, singing
and playing ukulele while Mei and the facilitators cleaned up the meal. Mei helped wash
dishes and put away food, staying until the cleanup was complete. Fengs energy continued
to grow throughout clean-up. He became louder, sillier, and more expressive, saying I am
a quiet boy. He sought the full attention of facilitators when he sang, and interrupted Mei,
who was singing a popular song with the co-facilitator that she had recently learned. Mei
was frustrated by Fengs playing ukulele over her, though she continued singing. When
everything was cleaned up, Mei said goodbye. Feng walked out with facilitators, carrying
his Chinese lantern which accidentally tore on the way out. He was disappointed. He
hugged facilitators goodbye.

Sharing a meal together brought up all the themes that were distilled during this research
project: co-creation and collaboration; being a part of a group; practicing language and
social skills; expressing challenges; pride in the artwork; creative self-expression;
exploring cultural similarities and differences; laughter, playfulness and fun; and being
witnessed in the creative process. Additionally, this session demonstrated the needs and
issues that international students face in living and studying abroad.
Chapter Summary
Chapter Five presented the results of the case study using a phenomenological framework.
Participants of the case study were introduced. Session vignettes were presented which
included photographs of participant artwork as well as a phenomenological description of
participant artwork, dialogue and behaviour, highlighting themes relevant to the thesis
question. Chapter Six will synthesize these themes with theory from the literature review in
order to answer the research inquiry regarding the value of a therapeutic art group in
supporting international students face the cultural, personal, social, academic and
developmental challenges of studying internationally.
CHAPTER SIX: DISCUSSION
In order to resolve the research inquiry investigating the value of a therapeutic art group for
international high school students, this chapter will present the final step in the hermeneutic
phenomenological method of inquiry. The researcher utilized the selective highlighting
approach to distill themes from the art sessions and intake and feedback forms. The
findings of the study will be synthesized by integrating the themes with theory from the
literature review in order to demonstrate the value of a therapeutic art group with
international high school students. The researcher argues that the research project provides
a poignant example illustrating how therapeutic art making within a group context can
support international students through the intrapersonal and interpersonal challenges of
living and studying in a host environment.
Themes and Benefits from Therapeutic Art Making Sessions
Throughout the course of the study, art making in a group context provided international
students with social connection and a non-verbal form of self-expression though the
creative process. The value of a therapeutic art group with international students can be
seen through the themes that emerged during the therapeutic art group process. The themes
link back to the challenges and needs of international students, and reflect the benefits that
participants experienced during the course of the therapeutic art group. Examples will be
provided from sessions, intake and feedback forms to illustrate themes. It is important to
note that the themes are interrelated and overlapping, and because they arise repeatedly
throughout sessions, it is difficult to discuss them in a linear fashion. The themes that
emerged throughout art group sessions were: co-creation and collaboration; being a part of
a group; practicing language and social skills; expressing challenges; pride in the artwork;
creative self-expression; exploring cultural similarities and differences; laughter,
playfulness and fun; and being witnessed in the creative process. The benefits that
participants experienced from the therapeutic art making sessions were: increased social
connection; improved communication and social skills; an opportunity for cultural
exploration and self-expression; an opportunity to be witnessed; and a place for fun,
experimentation and relaxation.
1) Social Connection
The intrapersonal challenges faced by international students during the process of

transitioning into a new social environment are compounded by a sense of loss of home
social support networks. Due to cultural and language barriers, it is often difficult for
international students to make connections with local peers and to establish social support
networks. Individuals may experience feelings of loneliness, social isolation, or feel
marginalized. The art group allowed for interpersonal relationship building between
participants and with facilitators, allowing participants to experience the benefits of
increased social connection. Additionally, feeling a part of a group and experiencing a
sense of belonging allowed participants support in dealing with the challenges of
transitioning to a new environment.
COLLABORATION AND CO-CREATION
Through collaborative and co-creative art making, two types of relationship building
occurred: peer relationships, and relationships with facilitators. At a time when adolescents
naturally push away from adults, consistency of a trusted relationship and staying
connected to adults is important in order to support adolescents through this stage of
development (Riley, 1999; Siegel, 2013). Art making is a non-threatening way for adults to
connect with adolescents through co-creation and dialogue (Riley, 1999). Relationships
with art group facilitators allowed international students a consistent opportunity to connect
with positive adult role models. The Art for Cultural Expression and Connection group
provided participants with an opportunity for creative collaboration with peers and
facilitators; through the co-creative process, connections were deepened between
individuals.
SENSE OF BELONGING
Group art making is especially effective for adolescents because it supports the
developmental tasks of identity formation, peer orientation, and a need for belonging
(Riley, 1999; Siegel, 2013). At this stage of development adolescents begin pushing away
from adults and orienting towards peers. This desire for social engagement enhances peer
connectedness and the creation of new friendships (Siegel, 2013). This behavior supports
adolescents to adapt to a constantly changing world in order to create new strategies for
living (Siegel, 2013). At a time when connecting with peers is especially important, the
group configuration is less threatening. Additionally, as individuals realize others are
struggling with the same issues, their experiences are validated and normalized. The art
group provided an opportunity for international students to connect with peers within a safe
environment, and over the twelve sessions, a group identity formed. Participants began to
feel a sense of belonging within the group. This experience was reflected by participants
responses on feedback forms which indicated that individuals definitely felt a sense of
belonging in the ACEC group. Additionally, this sense of belonging is illustrated by the
group portrait that Feng created in session eleven depicting his experience of being part of
a group. While engaging and conversing with facilitators, Feng utilized the creative process
and symbolic language to express his perception of facilitators, peers, and himself in
relationship to the group.
2) Communication and Social Skills
Through relationships with peers and facilitators, and the creative process, the art group
allowed participants an opportunity to build language proficiency, and improve
communication and social skills. The relationships that group members formed with one
another as well as with facilitators were a source of positive support and social interaction
for international students who may struggle with connecting and meeting people in an
environment where they are not fluent in the language and culture.
BUILDING LINGUISTIC AND CULTURAL LITERACY
As sojourners and English Language Learners, international students face challenges

related to having insufficient linguistic and cultural skills as they transition to a new
country, language and culture (Furnham & Bochner, 1986, as cited in Ward, Bochner &
Furnham 2001). The art group provided international students an opportunity to improve
English language skills and learn about the host countrys culture while engaging in
collaborative art making and discussion with facilitators. Being able to converse about
one's intentions, expectations, feelings, behaviour and cognitions contributes to a greater

understanding of one's social and cultural environment (Davis, 2010). Hence, talking to
international students about the stress involved in adapting to a new environment often
helps to normalize their feelings as part of the adjustment process, and in turn helps them
feel better about themselves and the host environment (Davis, 2010).
During art group sessions, participants actively engaged in learning and practicing English.
Participants brought their iPhones to session and frequently accessed translators to learn
new vocabulary. In session five Jie practiced English and explored cultural traditions of the
host countrys winter vacation through the artwork: creating decorations, singing songs and
discussing differences between the winter festivals of the host culture and his own culture.
Throughout the session, Jie inquired about the pronunciation of particular words,
proactively working to build his vocabulary. The researcher having been an ESL teacher
and the co-facilitator an English Language Learner provided Jie a patient, empathic
environment in which to build linguistic and cultural literacy through collaborative art
making and conversation with facilitators. Through the social constructionist way of
viewing reality, every individual has a unique experience that is shaped by personal, social,
developmental, cultural and environmental factors. In working within this framework, the
facilitator views the adolescent in the context of his or her environment, sees the adolescent
as separate from his or her problems and behaviors, and allows the art and its meaning to
direct the therapeutic encounter and create an opportunity for discussion (Riley, 1999).
CULTURAL NORMS AND ETIQUETTE
Session nine provides an example of how the art group offered an opportunity for
participants to learn about cultural norms and etiquette of the host country. During the
lantern making project, participants were observed by group facilitators to repeatedly reach
in front of other participants to access the glue guns, instead of asking for them to be
passed. Facilitators inquired about this behaviour. Through discussion participants
expressed that in their culture, reaching in front of others at the table for an object is normal
and appropriate behaviour. The art group provided a context and an opportunity to have
this behaviour surface and be worked with in the here-and-now to illuminate cultural
differences and model socially appropriate behaviour of the host country. The Art for
Cultural Expression and Connection group provided a safe and respectful environment
where participants were able to learn and practice social skills, cultural norms, and
etiquette of the host environment. At the same time, participants gained a deeper self-
awareness through understanding how behaviours are perceived differently cross-
culturally. Facilitators acting as witnesses offer participants a kind of mirror by which to
become more selfaware (Moon, 2002). Through this experience, participants are given the
chance to understand themselves as another human being perceives them (Moon, 2002).
3) Cultural Identity
Throughout the course of the art group sessions, opportunities arose to discuss culture,
language and heritage. Through art and dialogue, international students explored cultural
identity and talked about family constellations, favorite foods, and traditions of their
country of origin.
CULTURAL DIFFERENCES IN EDUCATION
International students face academic and linguistic challenges when they choose to study in
a language that is not their mother tongue. Individuals feel pressure to achieve
academically while coping with the intrapersonal challenges of transitioning to a new
school in a foreign environment, being unfamiliar with the language and culture, and
attempting to reconcile cultural differences in education styles and expectations (Davis,
2010; Ward, Bochner & Furnham, 2001). Session four highlighted the theme of cultural
exploration as students expressed and explored cultural differences within education. The
students expressed feeling uncomfortable and socially awkward having to participate in
social dance as a requirement for PE class. They expressed feeling embarrassed about
having to dance with and be in close physical proximity with peers of the opposite sex.
Facilitators listened attentively and validated the feelings of the students, allowing them to
feel heard and have their uncomfortable feelings held by adults with whom they had
established a safe and trusting relationship. Art is an effective and powerful way to form a
meaningful bond between the facilitator and adolescent, particularly during the period of
identity formation when an adolescent is searching for role models and consistency (Riley,
1999; Malchiodi, 1999). The ACEC group provided a friendly, supportive environment for
participants to talk about cultural, personal, social, and academic challenges. Participants
utilized the time and space within the art group, and their relationship with facilitators, as
an opportunity to express difficult feelings. By verbalizing and externalizing these feelings,
the individuals were able to decrease the stress and anxiety they felt. Importantly, as
participants shared their experiences within a group context, uncomfortable feelings were
held together, and their experience was normalized by their peers. Through this support
over twelve sessions, students learned coping skills and improved resiliency.
CULTURAL EXCHANGES AND BRIDGING CULTURES
Session nine provides an example of how cultural exchanges occurred during the art group.
As the high school International Program was hosting a Lunar New Year celebration for
international students to share cultural food and activities from their country of origin with
one another and with local students, art group facilitators chose to introduce a lantern
making activity to honor the Lunar New Year. Students from China, South Korea, and
Germany participated in this session, and all six participants chose to create lanterns. While
art making, participants talked about how their families celebrated significant holidays in
their own cultures. The ACEC group provided an opportunity for individuals to explore
personal cultural identities while sharing ones culture with others.
Session twelve illustrates the building of bridges between cultures that occurred during the
course of the art group. International students experienced a cultural exchange as they
shared a cross-cultural meal, enjoying the Chinese and German dishes that students
prepared. Additionally, students exchanged languages, practicing speaking German with
Lina, and French with the French-Canadian co-facilitator. Students showed openness,
interest and curiosity towards learning about the cultural traditions and food of other art
group members. It appeared to be a meaningful cultural exchange for both participants and
facilitators. From a social constructionist viewpoint, such cross-cultural exchanges allow
each individual an opportunity to recreate their own reality, each having a unique
experience shaped by personal, social, cultural, developmental and environmental factors
(Watzlawick, 1984 & Riley, 1999, as cited in Carpendale, 2009; Riley, 1999). In each of
the relationships we are involved in, through language, dialogue and art, we create new
experiences and new worlds (Carpendale, 2009). The Art for Cultural Expression and
Connection group allowed participants an opportunity to recreate their own worlds through
social connection and cross-cultural exchanges.
4) Self-Expression
International students experience communication challenges due to varying degrees of

English language comprehension. Creativity is its own language and enables humans to
connect with one another, and themselves, on a non-verbal level. Therapeutically it can be
an effective way of saying the unspeakable. The process of making art transcends the need
for verbal communication and allows international students a break from the pressures of
communicating in a non-native tongue. The art group allowed participants an environment
in which they could express themselves both verbally through dialogue and discussion, as
well as symbolically and metaphorically through the creative process. Additionally,
relationships with facilitators provided a holding space for students to express and talk
about challenges related to academics and homestay situations that they were experiencing.
In terms of art making, being able to keep their hands busy while talking about their
difficulties is appealing to individuals of this age group (Riley, 1999). The importance of
the verbal and non-verbal modes of expression for participants of the art group was
illustrated by Fengs statement during the last session of the group, This is not just an art
class, but a place where we can talk about things that are happening in school.
SELF-ESTEEM
Session seven provides an example of how expressing oneself through the creative process
and having ones creative process witnessed can be empowering for an individual. Feng
brought his sketchbook to share artwork from outside of session with facilitators. He
invited facilitators to photograph his drawings. The artwork seemed to function as a form
of a non-verbal expression for Feng, and the art group as a safe place to express and share
his inner experience. The ACEC group gave Feng an opportunity to share his
accomplishments and express the pride he feels in his artwork. It also provided a positive
container to have Fengs artwork and creativity witnessed and validated by the facilitators
of the art group. Through his creative process, Feng experienced a sense of self-mastery
and increased self-esteem. In the humanistic, person-centered approach, the facilitator sees
each individual in a natural process of growth and development, with the capacity for self-
direction, and ability to reach his or her own potential in a caring, empathic and non-
judgemental atmosphere (Rogers, 2001; Silverstone, 1997; Garai, 2001). Through respect,
acceptance and faith, the art group allowed participants a safe space for growth and self-
discovery (Rogers, 2001; Carpendale, 2009).
GRATITUDE AND GIFT-GIVING
In session eleven Lina utilized the art making process to create a gift of gratitude for the
nurses who had cared for her when she was injured. Lina also expressed her gratitude
verbally to facilitators for holding the art group and providing an opportunity for her to
have a place outside of class to connect with others and to express herself creatively. This
session depicts the opportunity for self-expression that the art group provides for
participants. The ACEC group allows a space for international students to engage in
dialogue with supportive facilitators whose role it is to hold space for participants as they
explore the cultural, personal, developmental, and social challenges they face living and
studying away from home. The artwork functions as a non-verbal form of expression,
adding another modality for communication.
TWO WORLDS
One of the most significant cross-cultural challenges that international students experience
is the transition between the home and host environment. Students experience
homesickness due to a deep sense of loss: loss of home, family and friends, and ones
cultural and national identity (Sandu & Asrabadi, 1994 as cited in Furnham, 2004).
This can lead to a feeling of social isolation, putting international students at risk for
anxiety, low self-esteem and depression, and avoidance of certain situations due to
academic, social, and cultural pressures (Pederson, 1991, 1996, 2008, as cited in Davis,
2010). This intrapersonal struggle is compounded by the interpersonal challenges of living

with a homestay family; difficulties with communication due to linguistic and cultural
barriers; and adapting to a new cultural environment, and learning the social skills and
etiquette of the host country. The Art for Cultural Expression and Connection group gave
participants an opportunity for social connection with peers and facilitators and a safe place
to express the personal and social challenges they were experiencing.
Session four illustrates how the art group and his relationship with facilitators provided
Feng a safe space to express and externalize emotions, be able to be seen and witnessed,
and experience empathy from facilitators who listened and responded with attentive care
for Fengs situation. During the session, using the paintbrush as a calligraphy brush, Feng
wrote the Chinese word for his country of origin while discussing the challenges he was
experiencing living with his homestay family. He expressed that he felt unwelcome, and
uncomfortable with the expectations his homestay family placed on him to socialize with
them. He expressed a desire for solitude and a rejection of family time. During the
session Feng painted a picture of a Pokmon character and explained that the character had
special powers: the capacity to live in two worlds. This image resembles Fengs real-life
situation. Through his artwork he is symbolically exploring the two different worlds he
resides in: China and Canada; his home and his homestay family. The artwork functioned
for Feng as a means of symbolic communication exploring the challenges he experienced
residing in two worlds. He appeared to be feeling homesick, a very common experience for
an adolescent living temporarily in a foreign culture.
CREATIVE SELF-EXPRESSION
Throughout art group sessions international students engaged in creative self-expression,

both verbally and non-verbally. Students created spontaneous art, brought artwork from
outside of session to share with the group, sang and played ukulele. As the natural curiosity
and creativity of the adolescent is engaged when given an opportunity for creative and
spontaneous self-expression, art making is a suitable way of working therapeutically with
this population (Siegel, 2013; Riley, 1999). Creative expression is an approach which
empowers individuals to express their emotions authentically and spontaneously, and build
the skills necessary to cope with life challenges (Carpendale, 2009).
Session twelve provides an example of how the art group provided international students
with an opportunity for creative self-expression. After the sharing of the meal, and during
clean up, Mei and Feng took advantage of the remainder of the last session to sing popular
English songs with facilitators. Feng played ukulele, and sang. Mei expressed that she
wanted to sing an English song which she had recently learned, and invited the co-
facilitator to sing with her. They sang together, laughing and having fun. Participants
enjoyed themselves while expressing themselves creatively and spontaneously. The
significance of providing the participants with a space in which to be creative and self-
expressive is also illustrated in Session three when Mei expressed that she wanted to do
spontaneous art, saying with her voice rising with excitement, We can do anything?!
5) Fun, Relaxation and Play
Throughout sessions participants expressed enjoyment in the art making process. Through
the creative process participants had an opportunity to relax, have fun, and be spontaneous
and creative. Participants experimented with new art materials, activities, and techniques
and often laughed and engaged playfully with one another and with facilitators as they
made art. Jie enjoyed mixing and dripping paint, and finger painting. Feng brought his
ukulele to session several times during later sessions and enjoyed the process of singing
and performing for peers and facilitators. During the closing session, students prepared and
enjoyed a meal together as a group. After eating, Lina took group photos, Mei sang, and
Feng played ukulele. On feedback forms, all participants expressed that they enjoyed
making art, and that it was relaxing for them. In session four while participants discussed
concerns with facilitators about the requirement of participating in dance class, students
engaged in a playful art activity. Playing with the goop seemed to decrease symptoms of
stress and anxiety, and allow participants to get out of their heads and back into the sensory
experience of their bodies. The Art for Cultural Expression and Connection group provided
international students a safe, non-judgmental environment in which to relax and play
within a sometimes stressful academic environment.
6) Empowerment through Being Witnessed

The art group provided a safe and non-judgemental environment for participants to explore
art, language and culture, to make mistakes, and to have ones behaviour, challenges and
art making process witnessed and held by facilitators.
Session eight highlights the themes of experiencing empathy and being witnessed. As Mei
was the only participant present during the session, she had the experience of co-creating
art with the two facilitators. Mei had the opportunity to teach her jewelry-making technique
to facilitators, and have her creative process witnessed and reflected in a positive manner
by group facilitators. Witnessing can be a powerful way to provide affirmation. Through
the process of facilitators reflecting back what has been observed, an individual may
experience being recognized, acknowledged, or understood (Moon, 2002). It was
empowering for Mei to teach her skill to the facilitators. As youth have opportunities to
experience and master art media and complete art tasks, a sense of skill mastery is
experienced (Howie, Prasad, & Kristel, 2013; Rubin, 2010). This in turn leads to increased
self-esteem, as well as improvements in social relationships and school performance
(Howie, Prasad, & Kristel, 2013; Rubin, 2010).) A benefit of this session was enhanced
self-esteem and self-awareness for Mei, as she received positive feedback from facilitators,
and experienced self-mastery in her artwork. Similarly, in session seven when Feng
brought his sketchbook to share his personal artwork with facilitators and peers, the art
group gave Feng a positive container to have his artwork and creativity witnessed and
validated by the facilitators of the art group. The ACEC group provided Feng a place to
share his accomplishments and to experience the pride he feels in his artwork reflected
back to him by facilitators of the group. As expressed by Carpendale (2009), the act of
creation often provides the creator a strong sense of satisfaction.
Summary of Benefits of the Therapeutic Art Group

There were many benefits observed for participants in the Art for Cultural Expression and
Connection Group. Benefits mirror the challenges that international students experience in
their sojourn abroad, and thus can be organized into intrapersonal and interpersonal
aspects. Through art, dialogue, and relationship with others, international students had the
opportunity to explore and express aspects of personal and cultural identity, learn
interpersonal skills, improve linguistic and cultural fluency, and enjoy the connection and
creativity of the art group experience. (See Table 4).
Table 4.
BENEFITS OF THE THERAPEUTIC ART GROUP

Intrapersonal Benefits Interpersonal Benefits
Provide a safe, non-judgmental Increased social connection,
environment to make mistakes communication & social skills
Expression of feelings through metaphor Learned and practiced cultural norms,
& symbolic language social skills & etiquette of host country
Decrease symptoms of stress & anxiety Provided a sense of belonging
Enhanced self-esteem & self-awareness Opportunity to be witnessed by others
Fun, playfulness, experimentation and Provision of nurturance: space, materials,
relaxation food, social connection
Opportunity to discuss homestay/academic
Improved coping skills & resiliency
challenges
Provided support in facing cultural, social,
personal, and academic challenges
Universality of experience/normalization
(due to group experience)
Opportunity to practice English & French
(verbal language)
CONCLUSION
The intentionality of the Art for Cultural Expression and Connection group was to
investigate the value of an art as therapy group to support international high school students
through the challenges of living and studying abroad. The study investigated the lived
experience of individuals of a twelve week therapeutic art group using a hermeneutic
phenomenological framework to analyze the data from the art sessions, intake and
feedback forms. Recurring themes were distilled and the benefits for participants were
ascertained. The researcher chose the name Art for Cultural Expression and Connection
for the group with the intentionality that it would be a place for international students to
explore and share their own culture with group members, while building bridges with
students from other cultures. Through creative expression and social connection, the art
group allowed international students a safe and supportive environment to explore and
express aspects of personal and cultural identity, learn interpersonal skills, improve
linguistic and cultural fluency, and enjoy the connection and creativity of the art group
experience. Results show that by providing international students with a non-verbal form of
self-expression through the creative process, language and cultural barriers can be
transcended. This research is relevant to both the fields of art therapy and counseling
international students as it shows the value of an art as therapy modality to support this
population during a period of transition and adjustment.
This study demonstrates the effectiveness of a humanistic approach in supporting

international students through cross-cultural transitions. Holding relationship as the
foundation of human experience, and being rooted in a respect for the interconnectivity
between individuals, community, and culture, it was my intention to create a caring,
empathic environment to welcome individuals and support their growth and drive towards
well-being as they struggled with both intrapersonal and interpersonal aspects of
relationship. In facilitating this group I am honored to have worked with such authentic,
creative, and courageous individuals. I am grateful for the opportunity to conduct this
research within my community and to share the creative process with others. Finally, I am
enthusiastic to witness how this research can be given back to the community to support
international students to be better adjusted during their sojourn experience.
Recommendations for Further Research
Based on feedback from participants and dialogue among the team of individuals who
carried out and supported this research project, it is recommended that further research be
conducted in order to understand how best to support this population during cross-cultural
adjustments. Specifically, with the goal of increasing social connection and building
bridges between cultures, future investigations could study the value of facilitating a
therapeutic art group which welcomes both local and international students.
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Anthropology (7), 177-182.
Siano, J. (Film). Drop in win win: Art therapy with adolescents at risk. Haifa: Israel.
Skaife, S., & Huet, V. (Eds.) (1998). Art Psychotherapy groups: Between pictures and
words. New York, NY: Routledge.
(2014). United Nations Refugee website. Retrieved October 18, 2014, from
http://www.unhcr.ca
APPENDIX A: Letter of Informed Consent
My name is Laura Andrew and I am a student at the Kutenai Art Therapy Institute (KATI). I would like to
invite you to be part of a research project that I am doing. This project is part of my coursework for a
Diploma in Art Therapy at KATI. To confirm my attendance in the KATI Program, please call Monica
Carpendale, Executive Director, at 250-352-2264 or email her at mcarpendale@shaw.ca.
The objective of my research project is: To study the value of art-making in supporting international high
school students to explore cultural identity and meet the challenges of living in a foreign country.
I would like to use your dialogue and photographs of your artwork from art-making sessions, as well as your
intake & feedback forms in my research project.
My research project will consist of 12 group art sessions between November 17th, 2014 and March 9th, 2015.
The process of the group is designed to support you in your exploration of your cultural exchange experience.
You will always have the choice to make and share your art, or not.
Your identity will remain anonymous, that is, I will not use your name or identifying features in the report.
All documentation will be kept strictly confidential.
In addition to submitting my final report to KATI for a Diploma in Art Therapy, I may also write an article
for publication in academic journals using the information I will gather in my research and, possibly, a paper
for presentation at a conference or during my class time at KATI.
You do not have to take part in this research project. If you choose to participate, you are free to quit at any
time, just please let me know in writing via email or letter. If you choose not to take part in this research
project, you may still attend the group, and your choice will be kept confidential from other group members.
By signing this letter, you give free and informed consent to participate in this project.
Name (Please print): ___________________________________ Date: ___________________

Signature: ____________________________________________________________________
Secondary Use Permission (Please sign): ____________________________________________
Thank you!
Sincerely, Laura Andrew
Art Therapy Intern, Kutenai Art Therapy Institute
Email: lauramandrew@gmail.com Telephone: 250-352-2264
APPENDIX B: Intake Form
ART FOR CULTURAL CONNECTIONS & EXPLORATION
This is an art group to provide international students with an opportunity to explore and express cultural
identity, and to build bridges between cultures.
1. What is your name? __________________________________________

2. How old are you? What grade are you in? _________________________
3. Where are you from? _________________________________________
4. What languages do you speak? _________________________________
5. How long have you been in Canada/Nelson? _______________________
6. How long will you be here? _____________________________________
7. How many people are there in your family? ________________________
8. Why did you choose to study internationally? _______________________
_____________________________________________________________
9. What did you hope for in coming to study in Canada? _________________
______________________________________________________________
10. What do you like about being here? ______________________________
_____________________________________________________________
11. What do you dislike about being here? ___________________________
_____________________________________________________________
12. What kind of art-making have you done? Drawing Painting
Collage Clay Photography Other ___________
13. What kind of art-making would you like to do? ____________________
_____________________________________________________________
14. What else would you like to tell me about yourself?
________________________________________________________________________________________
__________________________________
APPENDIX C: Goals for the ACEC Group
ART for Cultural Expression & Connection: A creative arts group to support international students through
the challenges of living abroad
Goals:
Through art and dialogue we will:
Have fun, be creative & make art
Explore your own personal culture
Explore self-identity & what it means to be you
Explore your experience living in another culture
Explore & understand differences and similarities between home & here
Look at things you like & dislike, and challenges you face living abroad
Gain a deeper understanding of your own culture
Gain more self-awareness
Meet people & make social connections
Build bridges between cultures
APPENDIX D: Feedback Form

ART FOR CUTURAL EXPRESSION & CONNECTION
LVR International Student Art Group Evaluation Form
Name: ___________________________ Date: ___________________
1. My reason for coming to the Art Group:
Experiment with art materials _____yes _____ no _____ not sure

Be creative _____yes _____ no _____ not sure
Relaxation & enjoyment _____yes _____ no _____ not sure
Get used to a new country & culture _____yes _____ no _____ not sure
Improve communication skills _____yes _____ no _____ not sure
Explore cultural differences & similarities _____yes _____ no _____ not sure
Make new friends _____yes _____ no _____ not sure
Express thoughts and feelings _____yes _____ no _____ not sure
Learn more about myself _____yes _____ no _____ not sure
Other reasons were:

_____________________________________________________________________________
2. I enjoyed making art.

____ Not at all ____ Somewhat ____ Definitely
3. Making art was relaxing for me.
4. I learned new skills in making art.
5. I felt accepted and understood by Laura and Julie (the facilitators).
6. I felt safe in the group.
7. I felt respected in the group.
8. I had fun in the group.
9. I felt a sense of belonging in the group.

10. I learned skills to help me adjust and feel more comfortable in Canadian culture.
11. I was able to share about my country and culture in the group.
12. Adjusting to living in a new culture and language is:
____Easy _____Challenging _____ Difficult ______Scary
13. The art group was helpful for me in adjusting to a new culture and language.
14. Having facilitators who spoke more than one language was:
_____Not significant _____ Helpful _____Very Helpful _____Relaxing
15. My favorite things about the Art Group:
______________________________________________________________________________
16. What I did not like about the Art Group:
______________________________________________________________________________
17. Suggestions for the Art Group:
______________________________________________________________________________
18. I would like to participate in another Art Group: ___ No ___ Not sure ___ Yes
______With International Students ______With Canadian Students _______Both
Additional comments:
________________________________________________________________________________
____________________________________________________________________________
______________________________________________________________________________
Thank you!

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Name: Laura Andrew

A THESIS SUBMITTED IN PARTIAL FULFILMENT

DIPLOMA KUTENAI ART THERAPY INSTITUTE.

ART FOR CULTURAL EXPRESSION AND CONNECTION

A Therapeutic Art Group with International Students

Laura Andrew, 2015

expression is inherently healing and life-enhancing. Using an art as therapy approach, an

phenomenological framework to analyze the data. Through thematic analysis, themes

experience. Where verbalizing in English as a second language (ESL) was sometimes

expression of experiences and emotions. This research adds to our understanding of

suitable counseling methods for international student adjustment.

I would like to express my genuine gratitude to my KATI SupervisorsMonica

Suitability of the Hermeneutic Phenomenological Approach ...................................... 35

Session Twelve: Sharing a Meal ...................................................................................... 74

INSPIRATION FOR THE PROJECT

CHAPTER ONE: INTERNATIONAL STUDENTS

English Language Learner (ELL student):

Reasons for Studying Internationally

Challenges Faced by International Students

In seeking to establish appropriate counseling methods to support international students,

Developmental Tasks of Adolescence

Synthesis of Needs and Challenges

CHAPTER TWO: THERAPEUTIC ART WITH INTERNATIONAL

A Social Constructionist Approach

constructionism is a post-modern perspective which takes into consideration the context,

Cultural Perspectives on Therapy

Approaching therapeutic art making with international students through a lens of

When working within a feminist framework, respecting cultural and experiential

Definition of Art Therapy

Therapeutic Art Making with Adolescents

on peers, and withdrawal from parental influences. In addition, societal and

Spontaneous Art Making

Spontaneous art making is a suitable way of working therapeutically with adolescents

inner feelings (Carpendale, 2009). Additionally, creating a powerful or playful work of

Adolescent Group Art Making

CHAPTER THREE: THE METHODOLOGY

Indigenous Research Methods

language which facilitates nonverbal communication. Furthermore, it is the intention of the

Qualitative Research and Therapeutic Art

Limitations of Qualitative Research

Van Manen (2014) expresses that hermeneutic phenomenology is a method of reflection on

According to van Manen (1990), phenomenological research is the study of lived

Hermeneutics is the theory and practice of interpretation which aids phenomenological

Suitability of the Hermeneutic Phenomenological Approach

Instrumental Case Study

CHAPTER FOUR: RESEARCH PROTOCOL

Formation of the Art for Cultural Expression and Connection Group

Integrated Team Communication

Therapeutic Art Group Sessions

Collecting the Data

Analyzing the Data

A five-step hermeneutic phenomenological framework was utilized during the process of

Presentation of the Instrumental Case Study

Limitations of the Research

CHAPTER FIVE: PRESENTING THE FINDINGS

An Introduction to the Participants

Overview of the Sessions

Pre-Sessions: Referral Gathering

Name Feng Mei Jie Lina

Session One: Welcome

Session Three: Collaborative Art

Figure 1: Jie & Researchers: Ghost

Name (Please print): _________________ Date: _