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The Five Techniques of Photo Therapy by Judy Weiser Each of the five techniques is directly related to the various relationships possible between person and camera (or person and photograph) although in practice, these categories often naturally overlap: 1) Photos which have been taken or created by the client (whether actually using a camera to make the picture, or “taking” (appropriating) other people’s images through gathering “found” photos from magazines, postcards, Internet images, digital manipulation, and so forth), 2) Photos which have been taken of the client by other people (whether posed on purpose or taken spontaneously while the person was unaware of being photographed -- but where people other than the client have made all the decisions about timing, content, location, and so forth), 3) Self-portraits, which means any kind of photos that clients have made of themselves, either literally or metaphorically (but where in all cases they themselves had total control and power over all aspects of the image’s creation), 4) Family album and other photo-biographical collections (whether of birth family or family of choice; whether formally kept in albums or more “loosely” combined into narratives by placement on walls or refrigerator doors, inside wallets or desktop frames, into computer screens or family websites, and so forth -- which were put together for the purpose of documenting the personal narrative of the client’s life and the background from which they developed. Such albums have a “life” apart from, and far beyond, the individual images which comprise them; and, finally... 5) “Photo-projectives” technique, which is based on the fact that the meaning of any photo is primarily created by its viewer during their process of viewing it (or taking or even just planning it). What is the story behind each of these pictures below? Why was it taken? What thoughts, feelings, or memories come to mind in response to seeing it? What might its voice say or ask if it could speak? What message, secret, or information might it hold? What does it remind you of in your own life? 82
The most effective application of these techniques will occur when they are creatively combined -- because they comprise an integrally interconnected system that is far more useful as a holistic system, than in any linear summation of its parts. 55 There are important distinctions between these approaches: “Photo- Therapy is used by therapists in their work helping others, while Therapeutic Photography is done by individuals by and for themselves in non-therapy settings for the purpose of their own personal growth and insight, creative artistic statement, as an agent of personal/political/social change or communitystrengthening -- or even more broadly when using the camera for the purpose of qualitative research or as part of organized community-based research projects (such as “PhotoVoice”). These practices are not opposites -- they are different ways of using emotional information that has been unconsciously embedded in people’s personal snapshots.” 56 Conclusion The reading of visual data as cultural texts enhances students’ understanding of such issues as social order, gender roles and inequalities. Pictorial constructs of normality and social problems are characteristic of certain historical periods; visual evidence may illuminate social issues of the past as well as contemporary society. The interpretation of visual texts may serve to highlight peculiarities in social relations and individual experience and offers a new understanding of the visual within a culture and a society. We have outlined the historical and interpretive frameworks of such methods as photography and video. We have also provided maps that can be used in social work training and research and in the practice of intervention and lobbying for social reform. In developing the visual component of social work training, we cross the fields of cultural studies, anthropology, communication and media studies, film, art, design, psychology, sociology and education. The application of visual methods in social work teaching combines practical and technical elements as well as reflexive and theoretically-driven aspects. Participatory visual methodology serves to amplify the voices of silenced groups, while offering opportunities for community education and social action. 55 Source: Weiser, 1999 available at http://www.phototherapy-centre.com 56 ibid. 83
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Teaching Gender in Social Work Teac
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© Alice Salomon Archive der ASFH B
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Visual intervention: research for s
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LIST OF TABLES Gender division at m
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Introduction Vesna Leskošek The bo
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• Working with the poor and peopl
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especially valuable when seeking to
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le is aimed mostly at educators, es
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ween’ reflect the majority view w
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with each perspective in order to a
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6. Do you think there was a need to
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provide another way in which to bro
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wherein the majority of students an
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mothers, but she definitely believe
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c) from a history of the present pe
Page 34 and 35: alongside, and not above or below,
Page 37 and 38: The Roots of the Social Work Profes
Page 39 and 40: Our aim is to make history and the
Page 41 and 42: for teaching gender from a historic
Page 43 and 44: loyalty and duty, the new one requi
Page 45 and 46: The Feminisation of Poor Relief At
Page 47 and 48: and mother. Even the ever well-info
Page 49 and 50: As an example of what it meant for
Page 51 and 52: their ability to empathise. All thi
Page 53 and 54: fictive or non-fictive materials, i
Page 55 and 56: • Orientatation, warming up Episo
Page 57 and 58: Conscience alley /teacher-in-role:
Page 59 and 60: 3. Ask your students to visit a loc
Page 61 and 62: Visual Sources in Teaching History
Page 63 and 64: In addition to this, the interpreta
Page 65 and 66: We have used these ideas in classes
Page 67 and 68: Visualisation of concepts: • Stud
Page 69 and 70: students express their expectations
Page 71 and 72: We have used the mapping technique
Page 73 and 74: Some authors employ visual particip
Page 75 and 76: Social work educators may develop t
Page 77 and 78: Visual methods for social reforms:
Page 79 and 80: One of the few women among the famo
Page 81 and 82: We were inspired by this idea and r
Page 83: Jo Spence (1934 - 1992) was a Briti
Page 87 and 88: Huss, Ephrat, and Julie Cwikel. “
Page 89 and 90: PART II - TEACHING WITH HISTORY: US
Page 91 and 92: Wave of Feminism. Reclaiming the po
Page 93 and 94: Toleration of domestic violence was
Page 95 and 96: • Can they share stories from the
Page 97 and 98: When speaking of mass deaths in Slo
Page 99 and 100: girls were exposed in many ways to
Page 101 and 102: public sphere. Those belonging to t
Page 103 and 104: Many services and professions are c
Page 105 and 106: of various nations or ethnic groups
Page 107 and 108: Scott, Wallach Joan. Gender and the
Page 109 and 110: Teaching Gender Through Diagnosis i
Page 111 and 112: other organs 3 and later as an illn
Page 113 and 114: Instructions for a case study Altho
Page 115 and 116: In addition, Savnik draws attention
Page 117 and 118: in Europe was a “family wage”,
Page 119 and 120: Many documents report a high number
Page 121 and 122: a “health police” in Lombardy a
Page 123 and 124: control, while the latter can be cu
Page 125 and 126: narration. Women’s stories were p
Page 127 and 128: Vari, Sandor. The case study of Ilm
Page 129 and 130: From Visiting Ladies Towards Munici
Page 131 and 132: the modernization process and inclu
Page 133 and 134: tions. These were the generations t
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to bring sick people to hospitals o
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As we can see, the aim of Bojana Ch
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In the 1930s female teachers and ad
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must save them from getting enraged
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Questions for students: 1. What was
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We conclude with a final set of que
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Human Reproduction Issues in Social
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that reproductive decisions are of
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ate. Natalist policies may be intro
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was that a child, due to one or bot
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and retrieval of egg or sperm, fert
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citizens have achieved so much, the
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Case Study Two: Cultural Difference
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Spektorowski, Alaberto, and Elisabe
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PART III - TEACHING MATERIAL A Phot
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The album consists of two parts, th
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On the following page we see a phot
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Figure 1. Photo album of Alice Salo
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Figure 4. Alice Salomon, 1899, Phot
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Figure 9. Margarete Treuge and Lili
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Figure 21. The Soziale Frauenschule
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Part 2: Ausbildungsstätten - Insti
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Figure 31. Die Wohlfahrtsstelle des
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Figure 36. Service for mentally han
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The second part of the album is hea
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Römer-Gobbin, who wrote about the
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This may be a starting point for di
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Salomon and Beatrice Webb, for exam
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References Addams, Jane. Twenty yea
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NOTES ON CONTRIBUTORS Dr. Adriane F
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Teaching with Gender How can educat
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