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Collective narrative practices<br />

in response to trauma<br />

<strong>David</strong> <strong>Denborough</strong><br />

Dulwich Centre Foundation


• Welcome<br />

• Introducing key principles through<br />

example of working with an individual in an<br />

isolated context – how can collective<br />

narrative practices be used in this context?<br />

• Collective documentation of skills and<br />

knowledges<br />

• Linking storylines and songlines<br />

• Tree of Life: an approach to working with<br />

vulnerable children


Key principles:<br />

• To find a way to richly acknowledge the<br />

real effects of the hardship/abuse<br />

• To listen for double-storied accounts –<br />

storyline of hardship AND storyline of what<br />

people give value to (responses to<br />

hardship, skills and knowledge)<br />

• To link lives and experiences to some sort<br />

of collective<br />

• To enable individuals, groups,<br />

communities to make a contribution to the<br />

lives of others


Nine years old, nine years young<br />

Nine years old<br />

Nine years young<br />

First locked up in a boys’ home<br />

40 years on<br />

Looking back now<br />

I don’t know how that kid survived<br />

Was just life at nine


Just had to adapt<br />

Just had to cope<br />

Find ways to get by in the institution<br />

They did things to him<br />

He did not want to do<br />

He knew it was wrong<br />

He knew it then


When he was nine years old<br />

Nine years young<br />

First locked up in a boys’ home<br />

40 years on<br />

Looking back now<br />

I don’t know how that kid survived<br />

Was just life at nine<br />

He knew he had to keep it quiet<br />

Make sure his parents did not know<br />

But 40 years on it’s time for speaking<br />

He knows


• To conceive of the person/people meeting<br />

with us as representing a social issue<br />

• To enable the person/people to join a<br />

collective endeavour in addressing, in<br />

some local way, this social issue<br />

• To enable people to speak through us not<br />

just to us


1. The name of a special skill, knowledge,<br />

practice or value that gets you or your family<br />

through hard times<br />

2. A story about this skill, knowledge, practice or<br />

value, a time it made a difference to you or<br />

others<br />

3. The history of this skill, knowledge, practice or<br />

value: how long has this been with you, who<br />

did you learn it from/with?<br />

4. Is this linked in some way to collective<br />

traditions (familial/community) and/or cultural<br />

traditions? Are their proverbs, sayings,<br />

stories, songs, images from your family,<br />

community and/or culture with which these<br />

skills and knowledges are linked?


Ibuka: ‘Remember’<br />

National association of genocide<br />

survivors in Rwanda


Kaboyi<br />

Benoit


‘the invention of unity in diversity’<br />

Paulo Freire (1994, p.157)<br />

Pedagogy of hope: Reliving Pedagogy of the oppressed.<br />

New York: Continuum.


‘communitas’ Victor Turner<br />

a shared sense of unity among<br />

individuals which …<br />

‘preserve individual distinctiveness’<br />

‘is not a merging in fantasy’<br />

do not depend on ‘in-group versus outgroup’<br />

opposition<br />

Turner, V. (1969). The ritual process: Structure and anti-structure.<br />

New York: Aldine de Gruyter.


Producing and documenting a ‘social<br />

memory’ of resistance and sustenance:<br />

‘They will remember that we were sold<br />

but they won’t remember that we were<br />

strong. They will remember that we<br />

were bought, but not that we were<br />

brave’<br />

William Prescott


• Listening for the shared values,<br />

the self-transcending ideals, that<br />

are implicit within survivors’<br />

expressions of anguish


• Noticing and acknowledging<br />

ways in which survivors have<br />

carried on these ideals


• Making it possible for<br />

survivors to name these<br />

shared ideals


• Inviting survivors to tell stories<br />

about the social histories of these<br />

ideals, where they come from,<br />

and with whom they are shared


• Creating contexts in which<br />

survivors can contribute to the<br />

perpetuation of these shared<br />

ideals


Yia Marra: Good stories<br />

that make spirits strong


The Tree of Life<br />

narrative<br />

approach: born<br />

from a<br />

collaboration<br />

between REPSSI<br />

and Dulwich<br />

Centre Foundation<br />

and between<br />

Ncazelo Ncube &<br />

<strong>David</strong> <strong>Denborough</strong>


Key principles:<br />

* ‘Riverbank’ position<br />

* People always respond<br />

* Implicit in responses are skills,<br />

abilities and special knowledges<br />

* There is always a social history to<br />

these<br />

* Rich story development


Part One<br />

- Drawing a Tree of Life<br />

- Riverbank position


Roots: Where we come from<br />

– rich textual heritage


Ground:<br />

Where we live, what we do each day


Trunk: Our skills, values<br />

- what people value/care about<br />

- think collectively<br />

- through the eyes of others<br />

- trace the histories<br />

- rich stories


Branches<br />

Our hopes, dreams & wishes<br />

- combination of big hopes and<br />

smaller<br />

- self, family, community<br />

- hopes have a history (trace them!)


Leaves: Those who are special<br />

to us<br />

- Alive or no longer living


Fruits<br />

What those special people have<br />

given to us<br />

Seeds<br />

Gifts we wish to give to others


Part Two: Forest of life<br />

- Moving from individual to<br />

collective


Part Three: The storms of life<br />

- Collective disclosure<br />

- Externalising the problem


Part Four: Celebration,<br />

certificates & song


Enabling contribution


Dulwich Centre Foundation<br />

www.dulwichcentre.com.au<br />

dulwich@dulwichcentre.com.au<br />

www.narrativetherapylibrary.com<br />

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