La creación cinematográfica participativa como medio para la narración de experiencias adversas con población migrante

Resum

This research entitled “Participatory filmmaking as a medium for the narration of adverse experiences with a migrant population” aims to contribute to the knowledge about the therapeutic potential of art and of participatory filmmaking processes, for the narration of adverse experiences with migrants. Migration processes are often related to loss, trauma, and uncertainty, causing experiences of suffering that are difficult to express and to put into words. Artistic languages, thanks to their symbolic character and the dynamics that are activated in the creative process, are an appropriate way to approach and express one’s own experiences and emotions, and to re-signify traumatic experiences. Within this framework, this doctoral thesis aims to explore and analyze how participatory filmmaking can be a tool for the narration of adverse experiences for the migrant population, contributing to their process of trauma elaboration, through the implementation of participatory filmmaking intervention methodologies and the analysis of the results of their application. To achieve this general objective, the dynamics and phases of participatory filmmaking processes have been studied in depth, the contents that emerge from the application of these types of practices with migrants have been analyzed, and the meaning that narrating adverse experiences through these methodologies has for them has been explored. The research has been carried out under the paradigms of phenomenology, constructivism and social constructionism, qualitative research, and arts-based research. The theoretical framework addresses trauma, art therapy, storytelling, the characteristics of migration processes and participatory and community cinema and video. The experimental framework has been developed through the participatory action research method and the multiple case study method. Each case corresponds to an experience carried out with different groups of migrants. Three experiences have been carried out, the first two of which are considered prior to the third. The first one was implemented in the Casa di riposo Valdese in Vittoria (Italy), the second one took place in the CEAR (Spanish Commission for Refugee Aid) migrant center in Getafe (Madrid), the third experience, considered the main one of this research work, was carried out in the migrant center of the Casa delle culture di Scicli (Italy). In these experiences, an intervention methodology based on participatory filmmaking processes has been implemented, taking as a reference, mainly, the methodology created by the Cine sin Autor collective. In the first and the second one, a film was made, and in the third one, three films were made (one created by the group of boys, one by the girls and one by a mixed group). Data was collected through participant observation, field diary, photos and videos, semi-structured interviews, focus groups and life stories. Thematic analysis and triangulation were used for data analysis. The experimental framework also includes seven interviews with experts in community filmmaking conducted in Colombia. The most relevant results of this research are analyzed with reference to three spheres: individual, group and collective. Regarding the individual sphere, it is concluded that these practices allow people to narrate and narrate themselves, to name the trauma and then to distance themselves from it, to bring painful experiences to light, to give them meaning, to put order to traumatic memories, to take control over events that in the past had control over them, to express desires and dreams, to promote confidence, autonomy, self-efficacy and self-esteem. In relation to the group sphere, it is concluded that participatory filmmaking processes, based on the generation of a feeling of security and the characteristics of collective creation, promote group cohesion, trust towards others, mutual understanding, and reciprocal support, opening a space for listening to others with respect, where one can share one’s own experiences without the fear of feeling judged. Regarding the collective sphere, the benefits of sharing first-person stories have been demonstrated, as they allow for the creation of other types of narratives, approaching the subject of migration from a closer perspective. It also allows the participants of the experiences to feel seen, recognized and legitimized and, in some way, giving rise to social action that promotes the visibility of the issues that are at stake. With regards to the intervention methodology, it is concluded that each phase of the creative process of constructing an audiovisual narrative (verbalization of mental images and sounds, symbolization through drawings, collective creation of the story board, filming, the collective editing process, and the viewing of the recorded material, first as a group and then in the community) allows aspects that contribute to the approach and the process of elaboration of trauma to be worked on. The limitations include language differences, the limited time available and the characteristics of the “open group”, which make it difficult to create a feeling of trust and security, and the need to preserve anonymity in the production of images, which prevents us from benefiting from the positive aspects generated by the dissemination of the works. Finally, for future research, it is recommended to pay attention to cultural differences, to train participants in the techniques and specific tasks related to audiovisual languages, to contemplate new proposals that would explore more explicitly those personal characteristics not related to the traumatic experience. Further research could contemplate the active involvement of the audience in the work, with art becoming a tool for social change and for activating processes of transformation. Finally, about data collection techniques, the use of a registration form for art therapy and trauma work for migrants and refugees could be added.