Nature, Characters and the Self

(Translation Chinese at the end) （中文翻译在文末）

Exploring Animation Art Therapy: A Reflective Journey

In August 2024, I conducted a “Film in a Week” workshop to immerse participants in character creation and animation. This workshop combined elements of my ongoing research in Animation Art Therapy, fostering an environment where participants could engage with creative expression while exploring therapeutic aspects of storytelling and Character Creation ( The workshop was actually called Character Creation, but this is to remove self-competition with the timing of the goal of making a film in a week). The workshop delivered at ACG for Summer Lab, which drew on various aspects of my teaching philosophy and practice, provided a platform for participants to experiment with character design, narrative depth, and emotional expression, all within the framework of a condensed production timeline.

Workshop at ACG: Overview and Integration of Art Therapy Elements

The workshop’s structure was built upon a blend of character creation techniques and animation fundamentals, emphasising integrating natural and therapeutic themes. Inspired by my research in speculative fabulation (Haraway, 2013) and ecological identity (Carpendale, 2010), participants were encouraged to explore narratives that connected deeply with environmental and social justice themes in the light of exploring the self – I believe the first step to open dialogue is self-awareness and self-identity. The inclusion of exercises from my “Time in Nature” project and “Character Workshop” allowed participants to engage with the natural world as a creative muse, encouraging a reflective approach to art-making that is sensitive to both personal and ecological contexts.

I incorporated the key principles of art animation therapy, which I have instinctively integrated into my practice. Drawing on ideas from my proposal, such as Antonia Darder’s perspective on education as an act of love (2011) and Macharia’s exploration of love in critical ethnic studies (2015), the workshop emphasized empathy, connection, and emotional storytelling. This approach allowed participants to create compelling visual narratives and provided a therapeutic space where personal stories and emotional experiences could be safely explored and expressed.

Participants’ Achievements and Feedback

The students’ engagement and creativity throughout the workshop were outstanding, particularly from participants like Cici, Patrick, and Linda, whose work demonstrated a sophisticated understanding of narrative and character design. Cici’s character “Fufu,” a nature-inspired creature animated with found objects and recycled materials, exemplified the workshop’s ecological consciousness and playful exploration themes. Her work showed how animation could foster an environmentally conscious mindset in young audiences, aligning with my vision of using animation for education and therapy. It also explored generosity and friendship, which I found richer in China in my brief experience. Patrick’s character work displayed a nuanced approach to storytelling, incorporating elements of irony and allegory that are critical in therapeutic narratives. His ability to weave complex emotions into his characters resonated with my explorations of animation as a medium for processing and reflecting on emotional experiences. Linda’s use of mixed media, including stop-motion with natural elements, further showcased the potential of animation to blend personal and ecological narratives seamlessly whilst exploring her feelings about her recent grandmother’s hospitalisation and creating a “film wish” for her recovery. Yeno’s exploration of nature and Fiona’s dinosaurs were stories less inclined to explore the self whilst very successful in exploring characters. Florence’s character was a self-exploration of a psychological personality and would require a longer post to explore, she was the youngest and only started learning animation recently, yet her work show great promise.

Connecting Practice with Theory: Towards a Framework for Animation Art Therapy

The workshop was also a live experiment bridging practice-led research with theoretical exploration. Inspired by James P. Carse’s Finite and Infinite Games (1986), I encouraged participants to view their creative processes as ongoing and open-ended, embracing uncertainty and the potential for discovery. This aligns with my broader academic goal to formalize Animation Art Therapy as a field that merges psychodynamic theory with creative practice, creating a space where art-making becomes a form of healing and self-discovery.

Conclusion

The workshop at ACG was a testament to the power of animation as a therapeutic and educational tool. It allowed participants to engage deeply with their creative instincts while reflecting on the broader implications of their work. By integrating elements of Art Animation Therapy, the workshop not only fostered artistic growth but also highlighted the potential of animation to heal, inspire, and connect. As I continue to explore this evolving field, I am motivated by the incredible work of my students and the endless possibilities that animation offers as a medium for personal and communal transformation.

探索ACG的动画艺术疗法：一个反思性的旅程

2024年8月，我在ACG为夏季实验室举办了一次角色动画工作坊，这次工作坊变成了一个为期一周的“电影制作”工作坊，旨在让参与者沉浸在角色创作和动画中。这个工作坊结合了我在动画艺术疗法方面的持续研究，为参与者提供了一个创意表达的环境，同时探索叙事的治疗性方面。工作坊借鉴了我的教学理念和实践的各个方面，为参与者提供了一个实验平台，让他们在压缩的制作时间框架内尝试角色设计、叙事深度和情感表达。

工作坊概述与艺术疗法元素的融合

工作坊的结构基于角色创作技巧和动画基础的结合，强调了自然和治疗主题的整合。受到我在“投机性虚构”（Haraway, 2013）和生态身份（Carpendale, 2010）研究的启发，参与者被鼓励探索与环境和社会正义主题深刻联系的叙事，以探讨自我——我认为开放对话的第一步是自我意识和自我认同。通过我的“自然时间”项目和“角色工作坊”中的练习，参与者能够将自然世界作为创作灵感，鼓励一种对艺术创作的反思性方法，关注个人和生态语境。

我结合了动画艺术疗法的关键原则，这些原则多年来我已经自然而然地融入了我的实践中。借鉴我的提案中的观点，例如安东尼娅·达德（2011）关于教育作为爱的行为的视角，以及马查里亚（2015）在批判种族研究中对爱的探索，工作坊强调了共情、连接和情感叙事。这种方法不仅让参与者创造出引人入胜的视觉叙事，还提供了一个安全的治疗空间，可以探索和表达个人故事和情感体验。

参与者的成就与反馈

学生们在整个工作坊中的投入和创造力令人印象深刻，尤其是Cici、Patrick和Linda等参与者的作品，展现了对叙事和角色设计的深刻理解。Cici的角色“Fufu”是一个以自然为灵感的生物，用拾到的物件和回收材料制作而成，体现了工作坊的生态意识和探索主题的趣味性。她的作品展示了动画如何在年轻观众中培养环境意识，符合我用动画进行教育和治疗的愿景。同时，她的作品还探索了慷慨和友谊，这也是我在中国短暂体验中发现的丰富主题。Patrick的角色作品展示了对叙事的细腻处理，融入了讽刺和寓言的元素，这对于治疗性叙事至关重要。他在角色中融入复杂情感的能力，与我对动画作为情感体验处理和反思媒介的探索相呼应。Linda使用包括自然元素在内的定格动画混合媒体，进一步展示了动画在个人和生态叙事中无缝融合的潜力，同时探索了她对祖母近期住院的感受，并创作了一部祝愿其康复的“电影愿望”。Yeno对自然的探索和Fiona的恐龙故事虽较少涉及自我探索，但在角色探索上非常成功。Florence的角色是对心理人格的自我探索，需要更长的篇幅来深入探讨，她是最年轻的参与者，最近才开始学习动画，但她的作品表现出巨大的潜力。

将实践与理论相结合：迈向动画艺术疗法框架

该工作坊也是一个实践引导研究与理论探索结合的现场实验。受詹姆斯·P·卡尔斯的《有限与无限的游戏》（1986）启发，我鼓励参与者将他们的创作过程视为持续且开放的，拥抱不确定性和发现的潜力。这与我将动画艺术疗法正式化为一个融合心理动力学理论与创作实践的领域的学术目标一致，创造出艺术创作成为一种治疗和自我发现形式的空间。

结论

ACG的工作坊证明了动画作为一种治疗和教育工具的力量。它使参与者能够深入接触他们的创作本能，同时反思其作品的更广泛意义。通过整合动画艺术疗法的元素，工作坊不仅促进了艺术成长，也突显了动画在治愈、激励和连接方面的潜力。在我继续探索这一不断发展的领域时，我被学生们的非凡作品和动画作为个人与社区转型媒介的无限可能性所激励。