Mapping Emotions

Module Artefacts

A Map of Canada
 Vancouver
 Red Deer
 Saskatoon
 Winnipeg
 Toronto
 Ottawa
 Moncton
 Sydney
 Whitehorse

Vancouver

Illustration de la tête de personne enveloppée dans un bandage avec une goupille de sécurité où la bouche serait .

In A Nutshell illustration by an unknown artist, 1973

photo de 4 personnes dansant à partir de 1970

Vancouver's MPA on the dance floor, mid-1970s.

Trois corbeaux sont équilibrage pierres et des bouteilles sur le dessus de l'autre

"Balancing Act" by Peter Morin.

Imprimer d'une femme avec une larme dans ses yeux, ses cheveux coule vers le haut et oiseaux volent hors de lui. Ciseaux volent vers ses cheveux et sur le point de couper certaines d'entre elles hors

" Free Your Mind" by Tania Willard.

Une impression presque entièrement noir avec une petite figure debout sur le droit entouré par un demi-cercle blanc. Le chiffre est en regardant le spectateur avec une expression un peu triste.

"Guess I Don't Know" by Rachel Taylor.

mprimer d'un homme autochtone debout au milieu de son manteau couvrant le sommet d'une petite tête de filles qui se tient sous le manteau par sa jambe. Il ya des cercles eminating partir d'un objet dans la main de l'homme. Il ya une forêt en arrière-plan.

"Log Blessing Ceremony" by Marika Swan.

Imprimer d'une figure bordée de leur main à côté de leur bouche semble être criant "je l'ai trouvé une raison". Étoiles abstraites et des terrains se situent en dessous du grand texte.

"I’ve Found a Reason" by Riel Manywounds.

Imprimer d'une église dans le centre avec des flammes sur le toit, des fleurs imposantes sur le côté gauche au-dessus de l'église et une figure sérieuse sur la droite. Un ours avec sa bouche ouverte se dessine dans le ciel au-dessus de tout.

"Ghost Sickness" by Tania Willard.

Whitehorse

Une photographie changée d'une femme dont les mains sont à sa tête. Sa tête est intitulé à la gauche et ses yeux sont larges, regardant fixement le spectateur. Il ya une photo de branches d'arbres intégrés dans son corps et parties de son visage.

Untitled Graphic by unknown artist

Toronto

Cartoon d'un médecin de la taille de la salle assis sur un tabouret, souriant et tenant une seringue. Deux petites laïcs froissé sur le sol en dessous de lui. La légende lit "Permettez-moi savoir si il ya des effets secondaires".

"Let me know if there are any side effects" by A. Cumings

Une illustration de petite fille debout au début d'un long couloir blanc. Au bout du couloir est un carré noir avec un visage menaçant et bras en électricité atteignant vers la jeune fille. Il ya une plaque sur le mur à côté d'elle qui lit "thérapie de choc électrique".

"The Psychiatric Aide" by Alice M. Robinson

Une illustration d'une main levée vers le haut avec la paume vers le spectateur. Il est suspendu à chaîne cassée la main ouverte.

Untitled Phoenix Rising graphic by unknown artist, 1986 

Photo d'une jeune femme, avec un grand sourire sur son visage quand elle donne un gros câlin à une femme âgée qui semble pleurer.

"Untitled" by Mary Ellen Mark

Une peinture d'une scène de trottoir. Un bicycleis au premier plan, une femme dans une longue robe tient une guitare sur la gauche, un homme est perché sur un pedistal-dessus de tout le monde et une personne dans une hotte et robes tient un seau de peinture à travailler sur un canvase dans une vitrine

An untitled watercolour by Jerry Naumyk, who left his art to PARC, a Toronto Drop-In

Une illustration de la figure masculine avec de nombreux bras et les jambes en donnant une impression de mouvement. Flames sortent de ses mains et les pieds et dessus de sa tête un objet ailé est en tournage sur la foudre

An untitled watercolour by Jerry Naumyk, who left his art to PARC, a Toronto Drop-In

Une peinture d'un homme assis sur le sol. Il tient un grand instrument et a un fusil et la flèche sur son dos. Un globe se trouve entre ses jambes et il est de marcher sur un serpent qui se reculait. Il est un oiseau au-dessus de sa tête, voler au loin.

An untitled watercolour by Jerry Naumyk, who left his art to PARC, a Toronto Drop-In

Ottawa

Student Voice - Purple 1

1 minutes

Student Voice - Brown 1

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​Student Voice - Green 1

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Student Voice - Pink 1

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Student Voice - Red 1

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Student Voice - Brown 2

1 minutes

Student Voice - Green 2

1 minutes

Student Voice - Pink 2

2 minutes

Student Voice - Red 3

1 minutes

Student Voice - Purple 2

1 minutes

Student Voice - Green 3

2 minutes

Student Voice - Brown 3

1 minutes

Student Voice - Pink 3

1 minutes

Student Voice - Blue 1

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Student Voice - Purple 3

1 minutes

Student Voice - Green 4

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Student Voice - Red 4

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Student Voice - Brown 4

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Student Voice - Blue 2

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Student Voice - Pink 4

1 minutes

Sydney

Un homme tenant une pilule avec "stigmatisation" écrit sur elle. Sous celle-ci dit: «Je souhaite que ce fut une pilule facile à avaler".

"I wish this was an easier pill to swallow" by unknown artist

  • Vancouver, BC:  In A Nutshell, poetry and art (1970s/1980s)
  • Vancouver, BC:  Gallery Gachet, Crazymaking art (2007)
  • Red Deer, Alberta:  Phoenix Rising, letter by D. Befus (1982)
  • Saskatoon, Saskatchewan: On Edge, poetry (2006-2007)
  • Winnipeg, Manitoba: Kaleidoscope, poetry and prose (2015)
  • Toronto, Ontario: Phoenix Rising, poetry and art (1980s)
  • Ottawa, Ontario: Carleton University, Anglophone student voices (2015)
  • Fredericton, New Brunswick: Our Voice, poetry and graphics (1987-1998)
  • Sydney, Nova Scotia, Burning Fog, poetry and art (2011)
  • Whitehorse, Yukon Territory, Second Opinion Society, poetry and art (1994, 1998)

 

Module Takeaways

  • Appreciate and honour emotions as legitimate knowledge rather than troublesome or irrelevant experiences of those who use mental health services
  • Analyze the problems created by professional judgment of service user emotions
  • Formulate empathic and compassionate responses to emotional accounts of lived experiences as reflected in a variety of art forms 

Module Assessment

Dear Future Self...: Upon completion of this module, each learner will write a self-addressed 250 word letter stating how emotions constitute knowledge, and how emotions (their own and others) will inform their individual professional practice in future.

Module Learning Lens

Mental health experiences are strongly linked to emotional states of being. People with mental health difficulties often perceive their emotions as out of place and unacceptable, believing that they are labeled as irrational, and directed to find various ways to control their feelings. Our community experts recounted experiences of joy, pain, fear, anger and humour, but felt that mental health practitioners shut their professional selves off from the emotions of those they were meant to be helping. Service users look for emotional validation and respectful, empathetic communication in their interactions with practitioners, but they do not find it often enough.

This module helps future mental health professionals learn how to identify and value emotional accounts. Importantly, it also directs learners toward an understanding of practitioner responses to emotions as political, so that they can appreciate that people delivering mental health services sometimes regard emotion as suspect or problematic or stand in judgment of what “counts” as emotion.

The Emotions Map takes learners inside a historical geography of Canadian emotions, exploring expressions of feeling across time and space, from a rainy Vancouver beach in 1977, to a Francophone student focus group at the University of Ottawa in 2015, to the pages of New Brunswick’s Notre Voix/ Our Voice in the 1990s. Through these encounters, learners can consider how the written word, art, and spoken reflections serve as vehicles for expressing emotions associated with mental health. Abstract or emotionally expressive ideas articulated in poetry foster new ways of perceiving and feeling. Emotions conveyed through visual art make the sharing of personal narratives and experiences possible in ways that words cannot. The verbal articulation of emotions is often spontaneous and immediate, demanding a similar response. In this fashion, this module also underscores the immense healing power of the creative arts, as opposed to medical or behavioral responses to mental health.

This intentional focus on emotions affords a critical discussion of their role and importance, challenging a stereotypical understanding of emotion as the “crazy sister” to rational (male) behavior.  Historically gendered notions that value reason over emotion constrain meaningful explorations of lived experience and, in turn, limit compassion.  Through responding to the emotions plotted across this map, learners can develop a stronger sense of empathy and a sensitivity to the emotions that link us all.

The artefacts in this module are powerful and provocative, and the accompanying learning activities engage head, heart and hands in the exploration of emotions. It is recommended that instructors conduct an in-class or online debriefing session to check in with learners about their emotional response to the material that they have covered. Note the suggestions for debriefing that are provided with this module.

Trans-Canada Emotions

Evaluating the Artefacts:

Trans-Canada Emotions: Self-Guided Learning

Timing: 
50 minutes

This module takes learners on a virtual road trip, travelling to one or more of the regions on the Trans-Canada Emotions Map to review the artefacts found there. For a more comprehensive exploration, invite students to map their own journey to three or more destinations.

Working individually or in small groups, learners will select three artefacts (audio, art, poetry) for a structured verbal reflection, working through the following questions. Learners will prepare a 4-minute individual or group verbal reflection that they will either record and post online or present in class.

Ask students to respond to at least three of the following questions:

  • What does this artefact say to you? What emotions stand out in the piece? What emotions are generated in you in reference to this piece?
  • What surprises arise for you amongst the artefacts? In what ways are they similar or different?
  • What would you like to say to the artists in response to their art?
  • Which emotions reflect attitudes and feelings that link to the “past” regarding mental health?
  • What are the voices of lived experience telling you as a future service provider and what emotional expressions might challenge you as a professional?
  • What can you do to honour the expertise of lived experiences and respond to the emotions of the people with whom you will work?

Student Voices: An Emotional Detour

Timing: 
90 minutes

For a condensed learning activity, ask your students to visit Ottawa on the Emotions Map to listen the audio responses from students who viewed a mini-gallery of artefacts from various locations on the Emotions Map.

Ask students to extend the conversation, as if they were with the Ottawa university students, by formulating responses to what they have heard.  Learners should indicate if they agree or disagree and explain why.  Learners can begin this activity by working in pairs and bringing their insights to a class discussion. This exercise can be done online using the discussion board.

Learning Activity Type: 

A Postcard from the Heart

Timing: 
30 minutes

Our community experts believe that emotions are surrounded by a politic in the mental health world that delegitimizes them. Professional criteria for “legitimate” feelings do not always match that of service users. Ask learners to respond to one of the artefacts found in a specific geographic location by writing a postcard to the artist that begins by acknowledging an element of the emotions expressed in the art that challenges them as a professional and concludes with a statement that conveys understanding, appreciation, and validation of the art and the emotion.

For a variation on this activity that incorporates artistic expression, ask learners to make art on one side of the postcard that reflects how they feel in addition to the written reflection.

Learning Activity Type: 

Heart, Head and Hands

Timing: 
20 minutes

An art intervention can be an original piece of art or an interaction with art that has been created by another person. Exploring course content through the production of artistic interventions allows students to process information in a multimodal fashion.  Create a piece of response art, in the same medium or another of your own choice, that reflects the message received through the artwork and demonstrates an analytical understanding of module takeaways.

Artistic responses can be posted online for online or blended courses. In face-to-face classes, consider having a travelogue (in-class session) on the Emotions Map in which students present their work in a gallery fashion. Using one or more of the questions from the Self-Guided Learning section of this unit, instructors can assign a 500-word essay asking student to explain how their art answers the assigned question and use the essay alongside their response art as a graded assignment. If this is a graded assessment, then disregard the activity timing and focus on the students’ ability to explore module takeaways.

Learning Activity Type: 

Trans-Canada Emotions: Processing and Debriefing

Timing: 
20 minutes

Emotions must be treated with care and instructors need to create an opportunity for learners to air their own feelings about the artefacts from the Emotions Map. The questions set out below can be a starting point for processing and debriefing.

  • What does this artefact say to you? What emotions stand out in the piece? What emotions did you experience in reference to this piece?
  • What surprises arise for you amongst the artefacts? In what ways are they similar or different?
  • What would you like to say to the artist in response to their art?
  • Which emotions reflect attitudes and feelings that link to the “past” regarding mental health?
  • What are the voices of lived experience telling you as a future service provider and why does it matter?
  • What can you do to honour the expertise of lived experiences and respond to the emotions of the people with whom you will work?
  • How will these artistic expressions of emotional lived experiences inform your thinking and future practice?
Learning Activity Type: