The Artistic Methods as a Way to Look at the Possibilities of Construction of Gender and its Relations

The Artistic Methods as a Way to Look at the Possibilities of Construction of Gender and its Relations – Based on a collaborative action-research project with a high school class, we discuss the possibilities that artistic methodologies bring to collective analysis and reflec-tions in order to promote youth political consciousness. Through moments of aesthetic-political exploration, in which the Theatre of the Oppressed and Photovoice were mobilised, the young people reflected on their everyday experiences and problems, with dating violence emerging as the most significant theme. Local actors were added to the joint reflection between the young people, and visual narratives made by two groups were discussed. This article recognises the potential of the arts to problematise gender relations and constructions, to emotionally and subjectively involve par-ticipants, and as a way of politicising an ‘apparent’ individual problem.

Keywords:
Photovoice; Dating Violence; Arts-based Research; Collaborative Research; Gender

Authorship

Joana P. Cruz

Joana P. Cruz is a PhD Researcher at the Centro de Investigação e Intervenção Educativas (CIIE), Faculty of Psychology and Educational Sciences of the Uni-versidade do Porto (FPCEUP). She has conducted arts-based research to under-stand youth Civic and Political Participation, social movements, and power rela-tions in institutional settings. She co-coordinates the Porto Theatre and Politics Laboratory, a space for theatre experimentation with a specific focus on the Thea-tre of the Oppressed. ORCID: https://orcid.org/0000-0002-6889-435X E-mail: joanapmcruz@gmail.com

Centro de Investigação e Intervenção Educativas (CIIE), Faculdade de Psicologia e de Ciências da Educação, Universidade do Porto – Porto, PortugalCentro de Investigação e Intervenção Educativas (CIIE), Faculdade de Psicologia e de Ciências da Educação, Universidade do Porto – Porto, PortugalCentro de Investigação e Intervenção Educativas (CIIE), Faculdade de Psicologia e de Ciências da Educação, Universidade do Porto – Porto, Portugal

http://orcid.org/0000-0002-6889-435X

Carla Malafaia

Carla Malafaia is an Assistant Researcher at the Centro de Investigação e Inter-venção Educativas (CIIE), Faculty of Psychology and Educational Sciences of the Universidade do Porto (FPCEUP). She has developed and coordinated research in the areas of youth political participation, mobilising mixed, participatory and visual methodologies, including the evaluation of community-based artistic pro-jects. ORCID: https://orcid.org/0000-0001-5490-1187 E-mail: carlamalafaia@fpce.up.pt

http://orcid.org/0000-0001-5490-1187

José Eduardo Silva

José Eduardo Silva is an actor, theatre director, researcher at the Centro de Es-tudos Humanísticos and assistant professor of Theatre at the Universidade do Minho (CEHUM) in Braga, Portugal. His research interests intersect theatrical artistic creation, psychological development and social transformation. He pos-sesses a degree in Theatre Studies (Universidade Politécnica do Porto) and a PhD in Psychology from FPCEUP. ORCID: https://orcid.org/0000-0001-9972-0814 E-mail: jeduardosilva@elach.uminho.pt

Centro de Estudos Humanísticos (CEHUM), Universidade do Minho – Braga, PortugalCentro de Estudos Humanísticos (CEHUM), Universidade do Minho – Braga, PortugalCentro de Estudos Humanísticos (CEHUM), Universidade do Minho – Braga, Portugal

http://orcid.org/0000-0001-9972-0814

Isabel Menezes

Isabel Menezes has a bachelor’s degree in Theatre (ESAP), a degree and a doc-torate in Psychology and an aggregation in Educational Sciences (U.Porto). She is a Full Professor at the Department of Educational Sciences – OEI Chair in Edu-cation for Citizenship/Global and is the director of the CIIE – Centro de Investi-gação e de Intervenção Educativas na Universidade do Porto. She has developed projects on the civic and political participation of children, youth and adults, with a special interest in the relationship between community art and politics. ORCID: https://orcid.org/0000-0001-9063-3773 E-mail: imenezes@fpce.up.pt

http://orcid.org/0000-0001-9063-3773

Editor in charge: Fabiana de Amorim Marcello

SCIMAGO INSTITUTIONS RANKINGS

Figures | Tables

Figures (5)
Tables (2)

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Figure 1
The Tree of the Process of Dating Violence. Source: Authors’ collection.

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Figure 2
Walking alone. Source: Authors’ collection.

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Figure 3
Socialisation. Source: Authors’ collection.

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Figure 4
The provider. Source: Authors’ collection.

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Figure 5
The performance of the students: final result of the research project. Source: Authors’ collection.

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Table 1
Key-Understandings of Group A. Source: Created by the authors.

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Table 2
Key-Understandings of Group B. Source: Creation of the authors.

Figure 1 The Tree of the Process of Dating Violence. Source: Authors’ collection.

Figure 2 Walking alone. Source: Authors’ collection.

Figure 3 Socialisation. Source: Authors’ collection.

Figure 4 The provider. Source: Authors’ collection.

Figure 5 The performance of the students: final result of the research project. Source: Authors’ collection.

Table 1 Key-Understandings of Group A. Source: Created by the authors.

– The victim should not be blamed

“Compared to the rest of the photograph, this colour [of the victim] is very happy, she wants to be happy, she wants to be somebody in life, free, but she cannot” (António)

– The isolation and fragility of the victim

“She is becoming smaller than him because she is closing herself off from the world: she is becoming more fearful and more isolated! She is getting smaller and the aggressor bigger... She is being dominated by him!” (Augusto)

– The importance of a support network

“If near the flower [victim] we had some colourful elements that represented a feeling of freedom and willingness to help the flower”/ “If the photograph changed and the leaves gained some colour, she could ask for help from the people around her...” (Patrício)

Table 2 Key-Understandings of Group B. Source: Creation of the authors.

Male privilege

– Men are privileged in today’s society and have a place of power in the structure. This gives them several advantages, not only on an emotional level, but also on a professional, economic or even physical level.

Gendered socialisation

– Being a man includes a very different socialisation process that gives him different possibilities of interacting and acting in the public domain.

Performative construction

– There is a pressure for ‘gender performativity’ that also restricts men. This social pres-sure conveys pre-determined formats for men to engage with: they must be protective, determined, active.

Restricted possibilities

– This socialisation process encompasses different ‘categories of masculinity’ (for example, the ‘bad boy’, ‘macho man’, ‘casual’) to which one can choose to belong.

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The Artistic Methods as a Way to Look at the Possibilities of Construction of Gender and its Relations

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[1] Editor in charge: Fabiana de Amorim Marcello