PROJECT MEMORIES: A COMMUNITY-BASED ARTS PROJECT FROM AN ART THERAPY PERSPECTIVE IN SINGAPORE - JOCAT
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Project Memories: A community-based arts project from an
art therapy perspective in Singapore
Yoko Choi Chi Mei, Roshni Bhatia, Boo Xu Ning, Lee Shulian
Abstract
This paper documents the development of Project Memories: Hawker Edition (Project M) in Singapore,
which was implemented by four art therapists amid the Covid-19 pandemic. Project M collaborated
with different multi-generational groups within the community. The project was funded by a local arts
organisation and the outcome included 57 art-based workshops with over 125 artworks created. Multiple
case-vignettes are used to illustrate the three themes: multi-generational narrative art, materiality and
nostalgia, which brought about therapeutic opportunities for intimacy, social connectedness, community
bonding, empathy, self-esteem, a sense of identity and positive emotions for the participants. The paper
concludes with a reflection of the art therapists’ perspectives on developing a community-based arts project
such as this with multi-generations, which addresses the future directions of similar work in Singapore.
Keywords
Community-based arts, Singapore, multi-generations, narratives, materiality, nostalgia
Introduction local arts organisation and collaborated with different
multi-generational groups within the community.
Art therapists are expanding their practice beyond
The outcomes included 57 art-making workshops,
clinical boundaries, striving to bring therapeutic
with over 125 artworks created. The article will give
experiences to support the social well-being of
an overview of Project M, the challenges faced due
individuals and communities. In Singapore, art
to Covid-19, the potential therapeutic benefits of the
therapy is considered an emerging profession in the
community-based workshops, and the implications
mainstream social services and has progressively
of such community-based arts projects in Singapore.
been recognised in the mental health sector in
recent years (Kelly et al., 2017; Lay, 2018). The need
Context
for advocacy and educational efforts to expand and
deepen the social awareness of art as a therapeutic Project M implements culturally focused art
tool to support mental health remains essential, directives that lead participants to explore beyond
if not critical. Community-based art projects act their (intra)personal connections. As participants
as a conduit between art spaces and art therapy observe their subjective experiences in relation to
practice. By making art more accessible to the other people, places and materials in the space, the
public, it benefits the community’s well-being. This reciprocity of perspectives specific to the cultural
notion is supported by a growing number of studies and social influences of that space and time also
that examine the relationship between visual arts communicate their overall experiences (Atkinson
engagement and the reduction of mental health et al., 2019).
conditions in the community (Rashith, 2018; Hawker centres are social spaces that embrace
Yoong, 2020). people from diverse socioeconomic backgrounds.
This article documents Project Memories: They are a representation of Singapore’s living
Hawker Edition (Project M), an initiative by four heritage, built from an amalgam of cultures (National
art therapists (Collective), from its conception to Heritage Board, 2021; Yong, 2020). Imagine the
production. The project received funding from a flavourful intermix of scents and noises from the
Vol. 16, No. 1, 2021 p.55
spices and wok hei (a Cantonese term describing the art therapists came together to curate a physical
charred aroma from stir-frying of the wok over open exhibition in a large local community hub. The final
flames) to the slurping and chatting of customers physical artworks, participants’ narratives and a
from the youngest to the oldest at the tables, in a 5 minute 20 second video documentation of the
well-ventilated, high-roof-top dining hall, creating a project were showcased.
symphony that is unique to Singapore’s hawker scene. The art therapists embraced the responsibilities
Our present-day hawker centres are a spin-off of both curators and docents in the art exhibition.
from street-hawker stalls that emerged in Singapore Some of the curatorial work included orchestrating
in the early 1800s. The street hawkers then were the art exhibits in the physical space to make the
primarily immigrants, who introduced cuisines exhibition site relevant and engaging for the viewers
from their home countries. Throughout the years (Wittman, 2012). To gaze at the art exhibits was
and over the generations, the hawkers adapted their one level of the bodily experience; to understand
home recipes to match the evolving taste buds of the exhibit narratives was another (Duthie, 1990).
the locals. In essence, hawker centres make space The docent guided the viewers around the exhibits
for people to reconnect with their roots, bond and and explained to them the connections between the
reminisce over cuisines that spark conversations and artwork displays and the objectives of Project M. To
memories (National Heritage Board, 2021; Roots, preserve the integrity of the voice of the community
2021). As a significant cultural symbol of diversity and minimise biased projections, the art therapists
and heritage, Singapore’s hawker culture was deemed created response art and engaged in reflective process
as a fitting catalyst in stirring dialogues with different writing to contain any forms of ambivalence or
generations. The senior communities were the first to nuances (Fish, 2012).
be on board.
The outbreak of the Covid-19 pandemic in 2019 Community-based arts project
significantly impacted the project. This resulted in Singapore
in changes in the entire structure of the public Several art therapists have emphasised the need
engagement, with a reduced budget and changes to expand their practice to community settings
in the timeline. The project was put on hold for (Hocoy, 2007; Kapitan, 2009; Talwar, 2016). Coss
recalibration and reconceptualisation. The initial and Wong (2016), in their article ‘Cultural context
plans involving face-to-face interactions within and the practice of art therapy in Asia’, write that art
the community and a site-specific exhibition were therapists in Singapore expressed the need for more
nearly impossible. Amidst the uncertainty in the community-based services as compared to a private
overall social and economic environment, the practice that has gained popularity in the country’s
project inevitably transitioned online to meet the successful economy. In recent years, the trend for
funding timeline. therapeutic arts projects has been picking up, with
Eventually, Project M adopted a combination more emphasis on mental health in the arts scene
of publicity and outreach methods, both online and (Stuckey & Nobel, 2010).
blended digital marketing strategies. Different social The National Arts Council (2019), a key
media platforms such as Instagram, Facebook, and organisation overseeing the development of the
the Collective’s website (https://www.wefoundspace. arts in Singapore, set its vision for 2018–2022 as
com/projects) were used. An open call for artwork ‘Excellence that inspires our people and connects our
submissions from various generations was initiated communities’. Hoe (as cited in Xue, 2019) observes
in four languages, both digitally and physically, that the Ministry of Culture, Community and Youth
together with several online tutorials and online art has made significant adjustments in their cultural
workshops for members of the public to create art policy-making towards empowering social cohesion
together in response to the hawker theme. and community building. Moving in tandem,
The result was a myriad of multimedia artworks the two statutory boards have created significant
and interactive experiences. As the safe-distancing opportunities for art therapists to bring arts into
guidelines for Covid-19 were still ongoing, the the community spaces to promote community
plan for a site-specific exhibition at the selected well-being (Xue, 2019).
hawker centre did not materialise. Despite that, the
p.56 JoCAT
Ethics issue. With a similar view, Project M invited the
multi-generational groups to share their perspectives,
Art therapists bear social responsibilities and
personal experiences and dialogue through art-
maintain professional integrity in accordance
making centring around the local culture.
with the codes of art therapy ethics and principles
Narrative therapy advocates that people are
of professional practice established locally and
experts in their own lives. They are capable of
internationally (American Art Therapy Association,
problem solving when guided appropriately.
2017; Art Therapists’ Association of Singapore, 2021;
Through a narrative inquiry approach, clients can
Australia, New Zealand and Asian Creative Arts
re-story their life script, externalise feelings of their
Therapies Association, 2018; British Association
‘undesired’ realities and re-author their individual
of Art Therapy, 2019; Personal Data Protection
experiences (Madigan, 2011). A narrative approach
Commission Singapore, 2021, to name a few), even if
in community work focuses on interpreting people’s
the work is not clinical per se. One characteristic of
experiences through the use of language, either
Singaporean culture is to speak Singlish, an informal
written or verbal, or visual representations (Clarke,
localised English language. It intermixes elements
2021). In art therapy, the use of narrative approach
of different languages and dialects that reflect the
or storytelling is common, as clients often use the
unique multi-ethnic Singaporean identity (Yeo,
narratives of the artworks or art-making process to
2010). Singlish signifies a sense of intimacy, humour,
reflect upon their lived experiences.
national pride and belonging to the local community.
When integrating the two approaches in the
Given that the first and second authors of this
examination of all the collected narratives from
article are not Singaporeans, as foreigners facilitating
the various generation groups, a common concern
a local project they learnt and adapted Singlish to
emerged from several participants from different
connect, particularly with the heartlanders – a term
generations. Many had externalised their emotions
often used to refer to less educated people, middle-
about their experiences with Covid-19 more than
to-low income blue-collar workers (Lee, 2015).
exploring the hawker theme. A narrative approach
Having the cultural sensibility to stay connected
allowed multi-generations to touch on more urgent
with the locals is part of the art therapists’ ethical
issues in their existing realities or the world. Here are
considerations.
two examples to illustrate.
This article begins with the inception of Project
An international student narrated her experience
M and is followed with a discussion of the findings
of Covid-19 using her art as follows:
in the next sections. The article concludes with a
reflection of the role of art therapists in developing I created a huge Corona virus which totally
a community-based arts project with multi- changed our life including travels, eating out,
generational groups, and addresses the implications workplaces and so on worldwide. I made this
of Project M. extremely hateful virus somewhat humorous
and suggested, “Let’s eat it up” so that we
Discussion of art-based findings in wouldn’t have to be threatened by infection,
response to Project M pneumonia symptoms, and in the worst-case
This section chronicles an in-depth discussion of scenario death. (Kumiko Matsushima, personal
art-based findings in response to Project M. Multiple communication, 9 September 2020)
case vignettes were used to illustrate the three Whereas, Mr See (pseudonym), an older adult in a
themes: namely, multi-generational narrative art, nursing home, recounted the following:
materiality and nostalgia, which brought therapeutic My brother used to bring me curry puffs during
opportunities to the participants. visitations but I was not able to see my brother
during Covid-19… I hope my brother can
Multi-generational narrative art come again and buy me the crispy curry puffs.
Kaplan (2007) postulates that the use of art to record The artwork ‘curry puffs’ I created reminded
history, shape culture and prompt social action me of perfect happiness. (Mr See, personal
can raise critical awareness, build community and communication, 21 October 2020)
motivate individuals to take action around a social
Vol. 16, No. 1, 2021 p.57
Community work using a narrative approach
empowers the individuals by inviting the ‘outsider-
witnesses’ to create a supportive audience, thus
allowing themselves to reconnect with their personal
and cultural identities (Chiu, 2020). During a
physically present session with a class of multi-
national art therapy postgraduate students, the art
therapist-facilitators first presented a video clip and
artworks made by older Singaporean adults and then
prompted the students to create their art in response
to those narratives and artworks.
Michelle Barbara, who has a Croatian
background, shared this:
Having lived in Singapore for 15 years, I created
pratas and curry puffs as my hawker memories.
In celebration of my cultural heritage, I also
included the Croatian food, ražnjiči, which are
similar to Singapore’s satay – simply meat on a
stick, but of course with different flavours. The
art-making induced childhood memories of
baking with my grandma, so I also made several
medenjaci (or gingerbread cookies in English).
My artwork, just like myself, is a mixture of
cultural identities. (Michelle Barbara, personal
communication, 22 October 2020)
The above narrative shows how an international
student used art-making (see Figure 1) to reflect
on her cultural differences and reclaim her cultural
identity through her own narrative that was inspired
by the narratives from the older adults.
Project M later facilitated a live online Zoom
dialogue session connecting the postgraduate art
therapy students with older adults in a nursing Figure 1. Michelle Barbara, My cultural identity, 2020,
flour, salt, warm water, cinnamon, turmeric, wooden sticks,
home. Although the connection was through glitter (inside the curry puffs, or should I say glitter puffs),
the screen, the virtual dialoguing (see Figure 2) dimensions variable.
did not hinder the two generations from actively
engaging one another. The older adults responded
animatedly and cheerfully, expressing with a lot of
hand gestures while sharing their stories, albeit with
the challenges of unclear audio exchanges as well as
hearing disabilities for some of them. The students,
on the other end, maintained high levels of curiosity,
attentiveness and amusement as they listened to the
older adults.
A student wrote in his reflection after the
Zoom dialogue:
I was inspired by the sharing of their hawker
story from the seniors I met during my MA art Figure 2. A screen shot showing the online dialoguing
session between art therapy students and older adults in a
therapy class on Zoom… Talking about food is nursing home.
p.58 JoCAT
great conversation with anyone as it brings and utensils were provided for the art directive
out the life and the memories of the person. to give participants a full tactile experience. The
(Yau Gee Lam, personal communication, participants could choose to make clay-dough objects
22 October 2020) or sculptures using purely flour, water, oil and salt
The students, as ‘outsider-witnesses’, helped to directly with their hands.
authenticate the lived experiences of the older adults Understanding the therapeutic qualities of
in the community (Chiu, 2020). In the work with different art materials enabled the art therapists to
multi-generational groups, Project M showcased adapt their art directives in a short time. Instead
how the art-making from various generations was of doing a series of in-situ art workshops, Project
interwoven with the process of sharing, telling, and M moved to a series of online art workshops using
listening to each other’s narratives. This process the Zoom application. Since physical bonding and
supported the two generations to experience social human interactions were limited due to stricter safety
connection, respect, empathy and positive emotions policies during Covid-19, the authors decided on
(Chiu, 2020). Verbal feedback from the nursing staff homemade clay, commonly known as salt dough,
and the older adults, as well as written feedback from using perishable ingredients like flour, salt, spices,
the students, demonstrated positive comments in and oil to mimic food preparation.
regard to their online interactions. Clay is known for its malleable and three-
dimensional qualities that allow direct shaping,
Materiality stretching and moulding to whatever forms one
Our senses are closely tied to our lived memories desires (Buchanan, 2015). Elbrecht and Antcliff
and there are few things in life more engaging to our (2014) highlight how touching clay can repair the
senses than food. Food is the source of our life force, neural pathways in trauma clients, allowing them
energy and vitality. The mere smell of a beloved dish to re-experience love, secure attachment and social
or even the distinct design of a childhood utensil interaction. In a study by Bae and Kim (2018),
can send us back in time to a forgotten memory. The patients living with Parkinson’s disease reported
recipes we enjoy throughout our lives and the spaces improved moods and were more self-expressive after
where we feast as a community connect us in the interacting with clay. In Project M, salt dough was
present as well as to our ancestors in the past. used in the hope of achieving a similar effect. The
To invite evocative memories of hawker food, participants connected as they reflected on cherished
perishable and richly sensational materials like flour, memories shared with their loved ones, around the
salt, spices, oils, food wrappers, takeaway food boxes hawker theme, while kneading their salt dough.
Figure 3. Screen shots of online art-making session with older adults.
Vol. 16, No. 1, 2021 p.59
Similar to the clay process (Bae & Kim, 2008), strengthened and self-esteem is boosted because of a
the salt-dough directive helped the participants feel deeper appreciation of ‘who I am’ in times of change
relaxed as they recounted their social experiences (Abakoumkin et al., 2019).
revolving around the hawker centres. To facilitate After a close study of the narrative accounts of all
a quality experience, steps were demonstrated in participants of Project M, the theme of nostalgia was
creating the salt dough, basic kneading and sculpting identified. The following section describes three case
techniques for the participants to follow (see Figure vignettes that echo sentimentality for the past in their
3). The mirroring of action was an important recollections.
avenue to forge a social connection, intimacy and Mdm Choi (pseudonym), was in her 80s, and
empathy between the participants and the facilitators living in a nursing home when she participated
(Franklin, 2010; Gallese, 2009; Sholt & Gavron, 2006; in Project M. She drew a seaside scene. The trees
Wardi-Zonna, 2020).
Verbal responses from the participants informed
the facilitators about how connected they felt
throughout the engagement process. To illustrate,
one senior resident, Mdm Wang (pseudonym) looked
at the final artwork and jokingly said, “It’s okay for
whatever it is, the art-making should be for fun
and leisure” (Mdm Wang, personal communication,
6 November 2020). She added, “Don’t be too serious,
Figure 4. Mdm Choi, 海边景色 Seaside View, 2020, oil
and we all should be able to let go.” After the sharing,
pastels on brown paper, 120×250mm.
Mdm Wang could not stop giggling, and repeated a
few times, “Whatever it is, it is.” It was evident that
the senior resident felt connected and appreciated. swayed in the background, looking out to the sea
She even requested the facilitator to return so that waves (Figure 4). Mdm Choi described herself as an
she could continue to learn more. introvert, who preferred less crowded places. Hence
The preceding section of this article explores the the bench was her favourite hang-out. She shared
emerging themes from the artworks and narrative how hawker foods were affordable alternatives to
recollections by the participants as they participated home-cooked meals, given that more people were
in the therapeutic opportunities. The following working long hours and had no time to cook their
section discusses the reflections on the authors’ roles meals. Mdm Choi said that for social reasons, she
as art therapists in a community-based arts project. used to eat out with her close friends around the
Katong area (the eastern part of Singapore), at a
Nostalgia hawker centre by the seaside. She said that the food
Nostalgia, a sentimental longing for the past served there was reasonable and what she valued
(Sedikides et al., 2008; Vess et al., 2012; Wildschut most were the moments spent with her close mates
et al., 2006), is regarded as a universal social (Mdm Choi, personal communication, 29 July 2020).
emotion across cultures and ages (Hepper et al.,
2020). When one is reminiscing about the past,
memories comprising recollections of meaningful
events from one’s life evoke a mixture of happiness
and sadness (Sedikides et al., 2018). Because the
process of reminiscence does not occur in a vacuum
(Molinari & Reichlin, 1984 as cited in Bohlmeijer
et al., 2007), sensory stimulations such as sounds,
movement, dance, smells, vibrations and food, or
events, anniversaries and places, can trigger nostalgic
memories. As one ruminates over the valued
relationships and social experiences, positive affect is Figure 5. Shen Jiaqi, Reminiscing Seletar, 2020, acrylic
generated, social connectedness to the environment is paint on wood panel, 430×660mm.
p.60 JoCATShen Jiaqi, a local artist, responded to the open have already imprinted strong memories in the
call to the public with a painting (Figure 5) based on participants’ minds. The participants recounted
the only photo she could find of Seletar Hills food memories of the food and the social connections,
centre (a hawker centre in the northern region of accompanied by positive emotions such as happiness,
Singapore). The hawker centre was one that held comfort and warmth. Their narrative accounts were
many of her childhood memories, from the weekly congruent with the research study by Vignolles
routine of getting Saturday morning breakfast to and Pichon (2014) in which nostalgic memories
the delicious ban mian that she loved as a kid. She paired with foods were enjoyed at a precise time,
recollected making friends and meeting neighbours at a common place and in the presence of others
who made a living from the food centre, and how (mainly family or friends). In the case of Theresa,
they would excitedly tell the customers about the even though the memory brought with it the sadness
day’s happenings. Jiaqi recounted, as a child, sitting of her parents’ separation, she expressed her nostalgic
and watching the repetitive motions of the stall emotion positively that now eating the dish allowed
owners as they served one customer after another, her to remember the good times she had.
while her family chatted with the friends whom Notably, the narratives by participants expressed
they bumped into. Jiaqi noted how these were a reliving of positive affect, as phrases like “valuable
precious memories that could never be recreated, were the moments”, “precious memories” and “good
as the site has been transformed into a bustling times” were used. These nostalgic engagements
shopping mall (Shen Jiaqi, personal communication, also invited reflections of participants’ social
29 September 2020). connectedness, which fuelled their self-esteem – to
“feel good about myself ” – and heightened optimism
– “hopeful about the future” (Cheung et al., 2013).
What assisted in the process of reminiscence
was the creative engagement of the participants.
Art-making gave the participants a sense of control
in what they wanted to create. As such, the art-
making mediated between the retelling of a nostalgic
memory and a final art product for an art exhibition.
Project M provided a non-threatening platform for
participants to recall their younger selves comfortably
and connect with others over simple hawker foods. In
this nostalgic process, the individual gained a sense of
fulfilment and comfort, which contributed positively
Figure 6. Theresa, My Memories with Fishball Noodles, to their current well-being.
2020, watercolour on paper, 228×305mm.
Reflections on the role of art
Another response to the open call was from a therapist in community-based work
school student, Theresa (pseudonym), who reflected The authors are a collective of four emerging
on her personal symbolism behind a particular art therapists with different cultural and ethnic
dish (Figure 6). She expressed, “I have liked fishball backgrounds and expertise. The Collective’s vision
noodles since young. I used to eat it quite often with is to reignite human connection to the material
my parents before they separated… no particular environment and enhance a sense of well-being
reason, I hardly eat fishball noodles anymore. Now through a hands-on approach. Through advocacy and
I have started to eat more… seeing it reminds me experiential outreach, the Collective works toward
of the good times I had with my parents” (Theresa, a larger goal of bringing art and its healing power
personal communication, 11 June 2020). to communities. It was the Collective’s intention
Project M capitalised on the hawker concept to pilot a community-based art project and gather
where food consumption evokes our five senses, collaborative efforts at multiple levels. Despite many
particularly our senses of smell and taste, which challenges due to Covid-19, the authors tapped into
Vol. 16, No. 1, 2021 p.61the qualities of solidarity, resiliency and compassion emotionally safe and engaging holding spaces in
in the process of project planning and execution as their clinical work to cyberspace (Ioannides, 2016).
art therapists. For example, the authors would check in with the
participants whenever there was a technical glitch,
Quality of solidarity instead of rushing through the workshop to complete
Overall, Project M was a humbling experience for the it in time. To ensure smooth operation, the authors
authors. They learnt to embrace individual differences and on-site staff kept each other posted of the
in the clinical approaches, personalities and creative latest on-site situation via text messages. With this
practices of each other. The process of executing a resiliency attribute in mind, the authors did their best
community-based project required both hard and to reach out and provide emotional support to the
soft skills. Skills and qualities such as interpersonal vulnerable groups of older adults in the community.
communication, critical thinking, self-reflection,
evaluation, pragmatics, work ethics, resourcefulness, Compassion at the heart of
innovation, project management and even financial empowering communities
sensitivity were essential to maintaining a successful Drawing on a strength-based approach, celebrating
collaboration. The authors helped each other to every milestone invites the individual to feel
grow with solidarity and to reflect with a heightened validated with each of their contributions (Aroogh
awareness of the inherent value of each author’s work & Shahboulaghi, 2020; Levasseur et al., 2010; Yazawa
and its relationship with the community. et al., 2016). The authors believe it is especially
The project was dedicated to raising social important to recognise every person who contributed
responsiveness and awareness of the role of with their presence and experiences in the project,
art therapists in the community. The project including the on-site staff, the participants and the
invited collaborations from various social service viewers who visited the exhibition, all constituting
organisations, art institutions, schools, community the community of the project.
centres, artists’ communities and the local In particular, the older adults who were engaged
community. These actions were strategic, bringing from nursing homes can often feel that society at
focus on the therapeutic opportunities in art-making large has forgotten them. Akin to their rich accounts
to a large audience group. of the hawker experiences in their younger days,
these older adults contributed to the development of
Quality of resiliency working in times Singapore into a metropolitan country, and food is
of Covid-19 often looked upon as a symbol of love and care. To
Covid-19 forced the art therapists to move out of thank the older adults for their time and investment
their conventional practice as physical workshops in Project M, the authors sent them their choice of
had to transition online. Parker-Bell (1999) notes that hawker foods.
“no art tool including the computer suits all needs or This section presents the reflections of the
situations but most can be used well in a therapeutic perspectives of art therapists in community-based
context if the therapist knows the properties and arts projects. Amidst the challenges complicated by
potential they hold” (p.184). The authors drew Covid-19, the authors responded with solidarity,
on their knowledge of the properties of different resiliency and compassion to bring Project M to
media to choose materials that enhance social fruition. The next section highlights some areas for
connectedness and intimacy, in order to counter the improvement in future projects.
limitation of being physically separated in space.
Bringing the workshop online also meant that, Future directions
while facilitating, the authors had to deal with Although the authors envisioned an inclusive
unpredictable technological faults, such as loss platform to promote social connectedness through
of internet connectivity or audio output, which Project M during Covid-19, more could be looked
could potentially result in frustration and loss of into to improve cultural nuances between ethnic
engagement on the participants’ end. To counteract groups (Lee & Robbins, 1995) and accessibility for
this, the authors applied their experience of creating diverse abilities (National Gallery Singapore, 2021).
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Vol. 16, No. 1, 2021 p.65Journal of Creative Arts Therapies
Volume 16 Number 1 2021
Editorial team
Chief Editor Sheridan Linnell
Co-Editors Stacey Bush, Catherine Camden Pratt, Deborah Green
Arts Editor and Journal Coordinator Vic Segedin
Copy Editors /Proofreaders Belinda Nemec, Marie Shannon, Anne Gordon
Peer review
The editorial team wishes to thank all the peer reviewers who have generously contributed their time and
expertise to this edition of JoCAT. Accepted submissions are reviewed by people well-versed and respected
in the subject or methodology of the submission. Articles 5, 6, 7, 8, 9, 10 and creative contribution 11 were
double anonymously peer-reviewed.
Volume 16, Number 1, 2021
Published by The Journal of Creative Arts Therapies
Online and open access at https://www.jocat-online.org/vol16no1page
© The Journal of Creative Arts Therapies, 2021.
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ISSN: 2652-9459
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