spinning yarns: textile crafting and emerging dialogue

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©2017TheAuthors.PublishedbyLoughboroughUniversity.ThisisanopenaccessarticleundertheCCBY-NClicense(https://creativecommons.org/licenses/by-nc/4.0/).

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SpinningYarns:Textilecraftingandemergingdialoguesupportingthewellbeingofvulnerablemen

SarahGreen1

1. LoughboroughUniversity,SchooloftheArts,EnglishandDrama

ThisitemwassubmittedtotheproceedingsoftheLoughboroughUniversityTextileDesignResearchGroupINTERSECTIONSConference2017byS.Green.Citation:Green,S.(2017)SpinningYarns:Textilecraftingandemergingdialoguesupportingthewellbeingofvulnerablemen.InProceedingsofIntersections:CollaborationsinTextileDesignResearchConference,13September2017,LoughboroughUniversityLondon,U.K.Availablefromwww.lboro.ac.uk/textile-research/intersections.Publisher:LoughboroughUniversity(©TheAuthors)Rights:ThisworkismadeavailableaccordingtotheconditionsoftheCreativeCommonsAttribution4.0International(CCBY-NC4.0)licence.Fulldetailsofthislicenceareavailableat:https://creativecommons.org/licenses/by-nc/4.0/PLEASECITETHEPUBLISHEDVERSION.

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Abstract: This paper discusses an ongoing, practice-based PhD project that seeks to examine thetherapeuticuseof textilecraftprocesses forvulnerablemen’swellbeing.Thepaperspecificallyreflectson themainmethod of research, the community-based textile craft group,ManCraft. Theworkshopsdraw on five evidence based categories: Connectedness, Hope, Identity,Meaning, and Empowerment(CHIME),usedasaframeworkbyparticipantsduringamind-mappingexercisetoexploretheirindividualunderstandingsofwellbeing.Themainthemereflectedoninthispaperisthesignificanceofdialoguetothe therapeutic process, explored further through analysis of an observational journal that recountsparticipantsmakingandsharingstorieswithoneanother.Thepracticeisongoingsothispaperdiscussespreliminaryfindingsandidentifiesareasthatwillbepursuedfurtherinthecontinuingresearch.Keywords:Textilecrafts;Men’swellbeing;Collaboration;Dialogue;FacilitationIntroductionThis paper presents preliminary findings of a continuing practice-based PhD project, which seeks toexaminethetherapeuticuseof textilecraftprocesses forvulnerablemen’swellbeing.Motivatedbythehighmortality rate amongstmen in theUK, this research focuses on the vulnerabilities ofmen over ageneralisedconcernformen,inordertodiscoverwhethertextilecraftprocessescanprovideatooltoself-manageindividualwellbeing.Severalempiricalstudieshaveevidencedthetherapeuticbenefitsofcraftingtothehealthandwellbeingofindividuals(Corkhill2014,Dickie2011,Reynolds2000,2004,andRileyetal2008) but these studies have largely focused on women, leaving men at continued risk from poorwellbeing. This research uses practice as its principlemethod of research,which consistsmainly of thelong-termcommunity-basedtextilecraftgroup,ManCraft,situatedatCharnwoodArts inLoughborough,Tuesdays 4-6pm. The practice is positioned under the banner of ‘craftivism’, a specific aspect of ‘quietactivism’ which is concerned with the empowerment of communities and individuals through smallembodied acts of ‘doing’. Therefore, the identified significance of the vulnerabilities of men in thisresearch, contributes a specific concern to further inform understandings of ‘craftivism’ and advocateindividualsastheexperientialexpertsoftheirownwellbeing(SeligmanandCsikszentmihalyi2000).Discussions inthispapercentrearound individualparticipant’sresponsestoactivities,andthedialogicalnarrativesthatweretriggeredbyembodied,physicalengagementintextilecraftprocesses.Theverbalisedaccounts (i.e. the extract below from11thOctober 2016), aredrawn fromanobservational journal anddepict the repeat encounters and interactions between participants, materials, processes and theresearcher’sfacilitationmethods.Intheextracts,allparticipantshavebeengivenpseudonymstoprotecttheiridentities.Akeyfindingoftheresearchrevealsthesignificanceofemergingnarrativestopotentiallysupporttherapeuticbenefitsforvulnerablemen’swellbeing.11thOctober2016I methodically check and re-check the sewing machine, set up in a DIY fashion for free-machineembroidery.IexaminethescrapofacetatethatI’veplacedoverthe‘dogs’(materialfeeders),checkingfor catchesandmakingsure theneedlepasses smoothly through the smallhole topickup the threadfrom underneath. I’m running one last check when Kenny bowls into the workshop room. He divesstraightintoposition,grabbingfabriconhisway.Themachinestartsupandawayhegoes,drawingwithasewingmachine,demonstratingallhe’slearnttheweekbefore.Ericarrivesnextwithanewgadget,aBluetoothspeaker.Asthesoundsliftupstairs,StanandKylearecalled fromtherafters to join in theeveningsactivities. Iweave inandoutof thebodies to threadupneedles,fetchfabricandcheckthesewingmachine,chattingasIgo.Then,withoutwarning,themusicexplodesintotheroomandapartysuddenlyensues.Mycolleaguesarriveinthedoorway,facesflushedwithconcern.Jemma’shandswetfromdishes,Jamesbrandishingateatowel.Theyaregreetedwiththefullforceofthelad’srenditionofQueens’BohemianRhapsody.AllInoticeinthatmomentisthesewing,

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as it continues flamboyantly in tunewith themusic. I glance atmy colleagues apologetically, feelingsheepishandconfused.Thiswasnot theusual calm relaxingatmosphere Iwasused to in textile craftworkshops.Iwasalsoslightlythrilledbytheresponse.Men’shealthandwellbeingWellbeing,inthecontextofthisresearch,isconceivedasacomplexmultifacetedconceptthatisdifficulttodefine(PollardandLee2003,Thomas2009,Dodge2012).Therefore,focusisplacedoninvestigatingthecomplexities of wellbeing through practice, utilising wellbeing indicators identified by psychiatrists andhealth specialists Leamy, Bird, Boutillier,Williams, and Slade, in their paper Conceptual framework forpersonalrecoveryinmentalhealth(2011).Wellbeingindicatorsarespecificaspectsoflifethatimpactonwellbeing,oftenusedformeasuringpurposes inpsychology,sociologyandpublicpolicy (Stewart-Brown2013, Ryff and Keyes 1995, and Aked, Marks et al 2008). Leamy and colleagues synthesise publisheddescriptions and models of personal mental health recovery into an empirically based conceptualframework, which identifies five categories significant to the recovery process: Connectedness, Hope,Identity, Meaning and Empowerment, giving the acronym CHIME. These categories for recoveryorientation, have a distinct overlapwithwellbeing research (Leamy et al 2011: 450, Aked,Marks et al2008) andhavebeenutilisedas abasis fordiscursiveexplorationofwellbeing in the community-basedpracticeelementofthisresearch.Men’svulnerabilitytopoorwellbeingandsuicidal ideation(MHF2016)hasresultedin4,630mentakingtheirownlives in2014comparedwith1,492women(OfficeforNationalStatistics2016).Causesforthehighsuiciderateamongmenareattributedlargelytomenpresentingdifferentsymptomsofmentalhealthproblemstowomen(Whittleetal2015,Spendelow2015),withspecificrelationtodepressivesymptoms(Emslie2006).Somepsychologistssuggestthatmen’sinabilityorreluctancetocommunicateexacerbatesdepressivesymptoms(Kilmartin1994,andMartin,NeighborsandGriffith2013,Moller-Leimkuhler2001),developing what psychotherapist Horrocks defines as a state of ‘male autism’ which causes men tobecome‘cutofffromnaturalfeelingsandexpressivenessandcontactwithothers’(Horrocks1994:107).Since identified issues in men’s health relate to an inability to connect with others and difficulties inpersonalexpression,IsuggestthatConnectednessisofspecificimportancetomen’swellbeing.ThisnotionissupportedbythecollaborativediscoursewithparticipantsofManCraft,exploredlater.My initial decision toworkwithmen stemmed from the findings of a previous research project that Iconductedwithamixedgendertextilecraftgroup.FromparticipantsfeedbackI identifiedcertain issuesthatpreventedmenfromengagingwiththetextilecraftprocesses:• Thetopicofconversationbetweenmenandwomendifferedgreatly,makingfindingcommonground

andpointsofconnectiondifficultandsometimesledtofeelingsofexclusion.• Men’slackofengagementstemmedfromconcernsrelatingtolackofskillandfearofmakingmistakes,

leadingtoanxiety.• Menfounditdifficulttoaskforhelpwithinagroupofmixedabilities.These findings indicate thatmenstruggle toengage inamixed-gendergroup, informingmydecision toworkwithvulnerablemenforthepurposesofthePhD.Whatisprovingusefultotheprocessandfocusondialogue in this research is the significance that the craft processes are largely un-practiced by men(McBrinn2015)andthereforeoftencarrynopreconceptionsorassociations.Theparticipantsunfamiliaritywith domestic crafts facilitates concentration in the acquisition of skills which leads to an uninhibiteddialogue.Thepracticehasfurtherdemonstratedthatcraftingalonemightnotbebeneficialtovulnerablemen’swellbeing,despitepreviousresearchshowingthewellbeingbenefitsofsolitarycraftingforwomen(Mayne2016,Dickie2011).MethodsofpracticeThemainmethodof practice consists of the long-term community-based textile craft group,ManCraft.PriortoestablishingthemaingroupinJune2016,Iranseveralpilotworkshopsatpre-existingcreativeartsgroups in Leicester and Loughborough. These workshops provided the opportunity to trial the chosenmethods,textilecraftprocessesandthefacilitationofdialogue.Itwasfoundthatparticipantsresponded

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well to thedialogical approach as it gave themopportunities to discuss theworkshops in anopen andtrusting environment where they felt listened to and unhindered by direct questioning and/orquestionnaires. Theproject is structured in fivephases.1. Satelliteworkshopsatpre-existinggroups,2.Pilot of weekly workshops at Charnwood Arts, 3. ManCraft is established as part of Charnwood Artswellbeingprogramme,4.Exhibition,5.FutureplanningandAutonomy.Theprojectiscurrentlyinthefinalphase,‘futureplanningandautonomy’,sinceanexhibitionofparticipant’stextileworksiscurrentlybeingheldatBradgateMentalHealthUnit,Leicester(Figure1).

Figure1.CHIMEExhibitionSource:Artistsownphotograph

I initially intended on being fully embedded in the practice as a participant-observer (Robson 1993),learning participant’s social conventions through shared experience. However, participants consequentlackofexperiencerequiredmetoadoptamoredominantroleasateacherandsoshiftedpowerrelationswithinthegroup.Tocounterthis, Iadoptedadialogicalapproachtotheworkshopsthatenabledmetodevelopmyrelationshipwithparticipantsdialogicallyasopposedtothroughparticipation.Thedialogicalapproach is also significant to this specific group of individuals as three participants identify as havingAspergerSyndrome,‘alife-longdevelopmentaldisabilitythataffectshowpeopleperceivetheworldandinteract with others’ (The National Autistic Society 2017). Developing a space where dialogue andinteractionisencouraged,providesparticipantswiththeopportunitytoexploreformsofcommunicationbeyondacceptedsocialconventions.Table1introducesabreakdownofthemethodsadoptedduringtheManCraftproject.

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Table1.BasicbreakdownofmethodsandapproachadoptedduringManCraftproject.

Stage ElementsofTextileCrafting Approachtofacilitation Impactonwellbeing

1 Introductionofbasicsewingskills

Highassistancewithphysicalsewingandinterventionduringpointsofcrisis.

Frustrationisovercomewithassistanceandskillsstarttobecomeintuitive.

2 Familiarisationwithskills Introductionofsmallscaleprojectswithvisibleoutcomes–TextileheartstosupportGlenfieldChildren’sHeartHospital.Phonecases,andgiftsforothers.

Familiarisationwithskillsandabilities.Anincreaseofconfidenceinpersonalskillandrecognitionofthepotentialsofmaterials.

3 Conceptualisation Introductionofwellbeingtheorythroughmind-mappingexercisesanddiscussion.

Increasedunderstandingofindividualwellbeing.Discussionleadstoinitialideasforartworks.

4 ExperimentationandInspiration

Moreadvancedskillsareintroducedsuchasembroidery,freemachineembroideryandprintingetc.Introductiontocontemporaryandhistoricalexamplesoftextileartforinspiration–groupPinterestboardcreatedtoshareandsaveideas.

Excitementandingenuityleadsthecreativeprocesses.Storytellingandpersonalnarrativesbegintoproliferateworkshops,fosteringsocialbonds.Discussionofeachother’screativeprocesses,andfurtherdevelopmentofideas.

5 Creationofartworks One-to-onedialogicalapproach–assistingwithproblemsolvinganddecision-makingprocesses.Facilitationofgroupdialogue.

Makingmeaning,developmentofpersonalexpression,storytellingstrengthenssocialconnections.

6 ExhibitionandReflection Curatingexhibition,furtherdiscussionoveroutcomes–whatworkedwellandnextideasforartworks.

Finalartworksarecompletedandexhibited.Increasedconfidenceinselfandtextileskills.Increaseddesiretocreatenewworksandgreaterambitionforfutureworks.

7 Futureplanningandautonomy

Reducedcontact. Autonomyincreasesasgroupaimstobecomeuser-led.

The adopted dialogical approach to the practice is supported through the keeping of an observationaljournal,writtenaftereachworkshop,whichcapturestheeventsandnarrativeswithinthepractice.Inthelatter stages of the project, re-reading and reflecting on the applied methods and approach duringworkshopeventsanddiscussions,willenablemetoreflexivelyevaluatethepractice,questioningpreviousassumptionsandidentifyingareaswhereparticipantsareresponsivetopotentialchange(BarrettandBolt2007).Applicationandinitialanalysisoffacilitationmethodsarediscussedfurtherbelow.FacilitationandcollaborationIhave recently identified that the interventionof facilitators can transform individualmomentsof crisisduring the crafting process. Negative experiences are rarely explored in other textile oriented studies(Desmarais2016),asfocusisusuallyplacedontherelaxingandcatharticeffects.However,frustrationhasbeenasignificantaspecttoManCraftparticipant’sexperiencesofcrafting,duetotheirunfamiliaritywiththeprocesses.Stanstartedtogetfrustrated,makinglittleshortmovementsandexasperatednoises.Hehadsewntillhehadacentimetreofthreadleftandnoroomformanoeuvringtheneedle.Havingnoticedthis,myselfandJemmarespondedbyexplainingtheproblem.Heinstantlyrealisedandcutthethread.(2ndMay2017)Frustrationwouldusuallybeassociatedwithnegative ‘affect’ inBradburn’s framework forpsychologicalwellbeingwhich relieson two independent variables, positive andnegative affect. Bradburn states thatone’sscoreonthenegativeaffectscalewillnot impactone’sscoreonthepositiveaffectscaleandvice

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versa(Bradburn1969).ButexperiencesoffrustrationintheManCraftgrouphavecausedpositiveeffectssuch as increased confidence and willingness to try new things, contrary to Bradburn’s assertion thatnegativeemotionsandexperiencescanonlyinfluencewellbeingnegatively.Theextractalsoevidencesthefacilitators interventioninthissituationandmightsuggestthattheirpresenceandinterventioniskeytothetransformationofthenegativeexperienceintopositive‘affect’,aswellasthedevelopmentoflifeskillssuchaslearninghowtodealwithfeelingsoffrustrationinalessaggressivemanner.The extract below, 4th April 2017, describes a change in roles betweenmyself andparticipants, as Kylebeginstotakeonamoredirectiverole,explainingthepatterningprocesstome(Figure2).Weweregettingconfusedwithdrawingonthebackofthefabricandflippingit–itwouldbethewrongwayround.Kylemusthaveexplainedittomeatleastthreetimes,hebecametheteacher,helpingmetounderstandhowwecouldmakeitwork.KylerealisedwhenIwastryingtodrawthesecondone,andmakingarightpigsearoutof it, thatwecouldflipthefirstshapeanduseitasatemplatetodrawaround.(4thApril2017)This extract exemplifies the fluidity of the roles and relationships between researcher and researched,wherebyparticipants are able to gain autonomyandownershipof the groupby leading theworkshop,demonstrating the importance for facilitators to recognise when to withdraw assistance and allowparticipants to take control. Working fluidly in this way allows the research to be a collaborative andcooperative process, whereby participants become co-researchers. In some instances, however, thisapproachhascausedparticipantstobecomelessindependent,relyingonthefacilitatortodomoreofthephysical sewing despite their demonstrated ability in previous workshops. This resulted in an alteredapproach,theremovalofmyselfphysicallyfromtheroomatspecifictimesintheworkshops.ThiswasadifficultacttotakeasIwasnolongerabletorespondtoparticipantneedsortoobserveinteractions.Butbyremovingmyselffromthescenario, Iremovedthetemptationtofallbackonassistance,allowingtheindividual to become less reliant on the facilitator andmore confident in their own ability to see theprocess of stitching through to completion. Music was also a point of contention early on in theworkshops,astasteswerecontested.Topreventfurtherdisruptiontothegroupawordassociationgamewas introduced, where each individual chooses a song that relates to the previous song, creating acollaborative process where participants choose songs they all appreciate. Music has now become asignificant aspect for all participants, and Kenny explains how singing stops him focusing on negativethoughts.‘Concentratingonthelyricsandgettingintunefocusesmymindonsomethingpositive.’(Kenny7thFeb2017).

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Figure2.Kyle–V8Source:Artistsownphotograph

Acursoryanalysisofthemethodsoffacilitationwithinthisresearchindicatesthat:• Interventionduringperiodsoffrustrationduringthelearningprocess,orininstancesofconflictcan

transformnegativeexperiencesintopositiveexperiencesthatdevelopcopingskillsforthefuture.• Facilitationofdialoguecanhelpparticipantsdevelopalternativemodesofcommunicationthatare

empoweringastheyaidindividualexpression,andincreaseunderstandingofothers.• Facilitationmethodsareconstantlyinflux,requiringanawarenessofsituationsandconstantre-

appraisalandadaptationwithinthepractice.Furtherreflectiononthefacilitatorssignificancetothewellbeingofparticipantsandthepotentialethicalconcernsregardingtrustandsafetyisstillrequired.CHIME:mind-mappingandcollaborativediscourseThis section of the paper expands specifically on the use of CHIME as a framework for participants toexplore their individual understandings ofwellbeing. Participantswere introduced to the fivewellbeingindicators, Connectedness, Hope, Identity, Meaning and Empowerment (CHIME), on the 10th and 17thJanuary 2017. Introducing this abstract concept within a group scenario initially led to too manyconversations taking place simultaneously. This process would have benefitted from a one-to-oneapproach initially before coming together to discuss individual ideas as a group. Participants fromCharnwoodArts RawArt group, a creative group for adultswith long term and enduringmental healthillness, were also involved in the discourse. Differences in response between the two groups will bediscussedbelow.Thegroupsusedmindmapstocaptureideasandresponsesastohowthesecategoriesmightimprovewellbeing(Figures3&4)andwereaskedtoconsideractivities/actionstheyengageinthatlinktothecategories.

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Figure3.ManCraftParticipants–CHIMEMindMapSource:Artistsownphotograph

Figure4.Kyle–CHIMEMindMapSource:Artistsownphotograph

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Overall Connectedness emerged as a strong wellbeing indicator for both ManCraft and RawArtparticipants,astheydecidedthateachheadingincludedsomeformof‘connectingwithothers’.Meaning(inlife)elicited‘relatetootherpeople’asawayoffeelinglessisolated,andopportunitiesto‘contributetootherslivesandhappiness’.ParticipantsfrombothManCraftandRawArtidentifiedotheraspectsthattheyconsidered important to wellbeing in addition to those given by Leamy et al, however, these aspectsdifferedbetweenthetwogroups.RawArtparticipantsfavouredcreativeactivitiestoboosttheirwellbeingwhereas responses from ManCraft suggest that connecting with others, communicating, and formingsocial bonds are most significant to their positive wellbeing. This is counter to previous notionssurroundingmen’shealthandwellbeing,whereconnectingandcommunicatingareseenasproblematicfor men (Horrocks 1994, Kilmartin 1994). ManCraft responses to CHIME suggest that men findconnectednesswithothersaspurposefulandbeneficialtowellbeing.ManCraft participants articulated that Purpose and Control/Autonomy should be considered separateheadings,alsoidentifiedbyRyffwhostatesthataspectsofpositivefunctioninginwellbeinginclude6coredimensions,Self-Acceptance,Positiverelationswithothers,Autonomy,Environmentalmastery,Purposeinlife, and Personal growth (Ryff 1989: 1071). Purpose was highlighted as particularly important by StanduringaconversationabouttheheadingEmpowerment.Stanidentifiedthatactionssuchas‘reachingouttopeople’and‘helpingpeople’madehimfeelempoweredbutalsogavehimpurposeandareasontostayconnected (Figure 3). Kyle and Eric on the other hand, made literal interpretations of the headings,beginningwithConnectedness.Kyle’sfirstadditiontothisheadingwasWIFI,themaintoolthathelpshimconnectwithothers,lateradding‘ManCraft’and‘applemusic’(Figure4).Theuseofhumourasacollaborativetoolforconnectingandcommunicatingisanadditionalthemethatseems to be emerging. A misreading ofMeaning on the mind map led to jokes surrounding ‘LemonMeringuePie’whichcontinuedthroughout theworkshop,asall theparticipantspickedupthe jokeandcollaboratedwitheachothertomaintainit.Consequentworkshopshaveelicitedacertainamountofwordmanipulation,punsandalteringthelyricsofsongs.Kennychangedthewords toKatieTunstall, reflectingwhatwashappeningto themusic… ’Buff-er-ing,these fuckingbuffering times,buffering times,buffering times.’ It filled thegap in soundbutwasalsocomicalandputeveryoneinagoodmood,helpingthemforgettheirfeelingsoffrustrationasthemusicfaltered.(21stFebruary2017)According to Crawford and Caltabiano (2011) humour can have a significant effect on an individual’swellbeingas ‘an individualwhoactivelybrings intoplay a senseofhumour ismore likely tobeable to‘reframe’adverse,ordistressingevents.’(2011:237).Humourisdistinctfromotherpositiveemotionsinthat itcanbecontrolled,anindividualhascontroloverthefrequencyandintensityoftheexperienceofhumour and thus positive emotions. I suggest participants are using humour as a collaborativecommunicationtool,asonepunorhumorousobservationispickedupbyallparticipantsandprogressedtill finally lost or exhausted, forming a collective identity and social bond. But Crawford andCaltabianowould also suggest participants are using humour as a way of controlling their experience of positiveemotions.Working collaboratively on the CHIME mind maps with ManCraft participants has expanded myunderstandingofwellbeinganditscomplexities.ResponseshighlightthatconceptualframeworkssuchasCHIMEaredifficulttoapplyinpracticeasthecategoriserepresentabstractnotionsthatcanbedifficulttointerpret,thusdifficulttoimplement.However,theactivitygaveparticipantsthechancetoinvestigateandexplore theirownunderstandingofwellbeing,providing theopportunity togainagencyover theirownwellbeing, as well as identify aspects and activities in their own lives that improve their individualwellbeing. Of particular note was Connectedness to others, leading to Purpose and a reason to keepconnecting. Humour has also become a prominent aspect of the workshops and perhaps has someinferenceonparticipants’wellbeing.

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TheCHIMEprojecthasalsotransformedhowparticipantsarethinkingaboutandinterpretingtextilecraftprocesses.Forexample,KyleandErichavesewnwithwireasanalternativetothread(Figure5&6).Stanhasbeenusingscrapsof fabric tocollage together images,using theshapesof thescraps todefine thework (Figure 7). ‘I just look at the spaces here and think what would work and let it leadme.’ (14thFebruary2017)WhilstKennyisexperimentingwithlayeringfabrictocreatetactility(Figure8).

Figure5.Kyle–SewingwithwireSource:Artistsownphotograph

Figure6.Eric–SewingwithwireSource:Artistsownphotograph

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Figure7.Stan–AstheButterflyFlapsitsWingsSource:Artistsownphotograph

Figure8.Kenny–LayeringSource:Artistsownphotograph

TextilecraftingandemergentnarrativesThemost prominent notion emerging from the practice to date is how intrinsically linked textile craftprocessesarewithdialogicalnarratives.Theactiveengagementofparticipantswithtextileprocesses,suchas stitching,mending and ironinghasoften triggeredmemories leading to story-telling, anexchangeofdialoguethatalsocontainsanexchangeofknowledge,ofknowingoneanotherasthestoriesarerecalled,toldandre-told,creatingwhatRichardSennettwouldrefertoas‘dialogiccooperation’(2013),aformofdiscourse that attempts to find greater comprehension by becoming aware of one’s own views andexpanding understanding of one another. Firstly, I will explore the therapeutic benefits of textile craftprocessesasseveralempiricalstudiesevidencethetherapeuticbenefitsoftextilecraftprocessestohealthandwellbeing(Riley,Corkhill,andMorris2013;Reynolds2000,2004;Corkhill2014;Hackney2013;Riley,Hemmings,MaddockandCorkhill2014;andDickie2003,2011).Thetermtherapeuticinthecontextofthispaperisbeingusedtodescribethepositiveeffectthataspecificactivitycanhaveonanindividualandisnotinreferencetoitsmoreclinicalapplicationsinthecontextofarttherapy.Amyriadof factorsspecific totextilecraftshavebeen identifiedashavingsignificantpositiveeffectsonindividualwellbeing(Corkhill2014,Dickie2011,Reynolds2000and2004,Hackney2013andMayne2016).Themostcitedbenefitreferstotherepetitiveactionsoftextilecraftprocesses(FineCellWork2016,Rileyetal2013,Riley2008),wheretheactionsinvolvedarerepeatedoverandover,thuslybecomingautomaticmovementsthatareexecutedwithoutawareness,likewalkingandbreathing.Kyle-It’slikeplayingmindcraft.Yourbodyswitchesoffandyoucanletyourmindwander.Onlyyourhandsaredoingsomethinginsteadof justpressingbuttonsonacontrol.Yourbodyswitchesoffandyourbrainjustgoesnuts,letlooseyourimagination!Hethenpickeduphisworkandshowedmewithagleamingsmile,‘Ifinisheditwhilstweweretalking’.(31stJanuary2017)

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Kyle-Idon’tthinkaboutwhatI’mdoingwhenI’mgamingandit’slikethatnow(sewinginthesession),Ijustzoneout.AssoonasIstartthinkingaboutit,Istabmyselfwiththeneedle.(25thApril2017)Kyleherepertains to a correlationbetweenwhathe feels happenswhenhe is gaming andwhenhe issewingandsuggeststhatparticipantsarebenefittingfromtherepetitiveactionsofsewing.Thisrepetitionleadstotheoriesrelatingto‘flow’,alsotermed‘zoningout’,describedasameditative-likestate‘inwhichpeoplearesoinvolvedinanactivitythatnothingelseseemstomatter’(Csikszentmihalyi2002:4).Flowisconsideredadesirablestatebecause itallowsthemindtimeto ‘reboot’andallows foradeepsenseofcalm. In theextractsaboveKylesuggests that this ‘zoningout’canreleasemorecreativeaspectsof theimagination,allowingartworkstodevelopwithinthetextilecraftprocess.Corkhillsuggeststhat‘zoningout’canalsoleadtoafreedomofdialogue(Corkhill2005),astherepetitiveactions takeup greater brain capacity thus switchingoffwhat is termed ‘self-monitoring’,which allowsspeechtobecomefreerandoftenmoreindepth(Corkhill2014:34).Sinceparticipantsstrugglewithsocialexpectationswithinconversation,oftenresultinginmultipleconversationsatonce,thegroupprocesshasproved to bebeneficial in helping themdevelop storytelling skills that alloweveryone tobeheard andunderstood(BurtandAtkinson2011).Kyle - ‘Whenyouwereshowingme that crochet thingand itwashardand then Iwasn’t thinkingbutthenyouwerelikewheredidallthatcomefrom.AndI’dbeendoingitwhilstIwasn’tthinking.’Likeridingabike,orswimmingofferedJemma.(10thJanuary2017)The process of crochet in thisworkshop triggered a further narrative about being a daredevil, runningacross the tarpaulin that covers a swimming pool before school swimming lessons began. This led tosharingknowledgeaboutemotionsandfeelingsrelatingtoachievement.Kylerelatedthefeelinghegetsfromrealisinghecan sewandcrochet to the thrill hegot from the rebelliousactof runningacross theswimmingpooltarpaulin.ThefeltpiecesKylewantedtoworkwithwerealittlecrumpled,Ispottedhimtryingtosmooththemoutontheradiator–‘youneedtoironthose’Isaid.‘GetmeanironthenandIwill.Iknowhowtoiron.Mygrandmataughtme.’SoIdid.Andhedid.Butashedid,hetoldmeastory…(31stJanuary2017)TheactofironinginthisworkshopinstigatedamemoryforKyleabouthistimeasacadet,amischievoustaleofingenuityandironing.Theseexcerptsfromthejournalevidencehowstrongthelinkbetweentextilecraftingprocessesandstory-tellingcanbe,asparticipantsrelateemotionsfrompreviousexperiencestoemotionstheyexperienceasaresultofcrafting.Bytellingstoriesparticipantsarebetterabletoarticulatehowthecraftingprocessesareaffectingthem.These narratives also provide an alternative means of communication, expression and knowledgeexchangebeyond socially accepted formsof conversational exchange. Thenarratives emerging throughtheManCraftpracticeprovidecontextandawayofexplainingideasthroughexperiencesthatotherscanunderstandand relate to, this understanding canalsobe transferredacross generations as exploredbyHackney(2013).Prainstates,’itisrarethattextileworksaresimplytheendproduct’(Prain2014:9),thisisespeciallypertinentintheManCraftgroupasthetextileworksaresaturatedwithnarrativesandstories,asparticipantsusethetextilestocommunicatewitheachother,toexpressthemselves,beunderstoodandtolearn about each other. This suggests that the therapeutic outcomes of the project include ephemeralstoriesaswellastextileartefacts.

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ConclusionsThecommunity-basedpracticeisongoingbutisalreadyprovidingexcitingdataregardingthesignificanceofstorytellingtothetherapeuticprocess.Thepracticeindicatesthattheactiveengagementofparticipantswith textile craft processes, such as stitching,mending and ironing triggersmemories that lead to thesharing of personal narratives through storytelling, providing participants with an alternativemeans ofexpressing themselves in a way that facilitates understanding of one another and increases theopportunity to develop strong social connections. Participants have engaged effectively with thecomplexities of wellbeing theory, adding their own understandings to its continued development.Connectedness to others, leading to an increased sense ofpurpose and feelings ofempowermenthavebeenclearlyidentifiedasimportanttomen’swellbeing,despitetheoriessurroundingmen’s‘reluctance’tocommunicate.Otherfindingsfromthepracticeinclude:• Humourisakeyaspectofinteractionthatcontributestosocialbondsandincreasedwellbeing.• Craftingalonemightnotbebeneficialtovulnerablemen’swellbeing,despitepreviousresearchshowing

thewellbeingbenefitsofsolitarycraftingforwomen.• Thefacilitator’sinterventionscanbeusedtorehabilitateaperson’spersonalcrisisinthemoment,

turningpotentiallynegativeexperiencessuchasfrustrationintopositiveexperiencesoflearning.Inordertorefinethecontributionstoknowledge,itisnecessaryforcertainaspectsoftheresearchtobeclarified, including examining how dialogue occurs through the practice. How does the nature of thedialogue promote wellbeing? What is the qualitative value in the dialogue? Evidence of how thefacilitator’s interventionscanbeused to rehabilitateaperson’spersonalcrisis in themoment, indicatestheneedtofurtherunderstandtheaffectingroleofthefacilitatorontherelationshipwiththeparticipantin craft-basedactivities, alongwith thepotential complications.Developinga reflexive relationshipwiththeobservationaljournalwillassistmewiththeseenquiries.TheManCraftgroupwillcontinueforanother3months,whereIwillattempttowithdrawmypresencegraduallytoencouragetheparticipantstobegingaininggreateradvocacy.AlreadyIhavenotedinthejournalthatparticipantsareshowingsignsofbecomingself-regulating.

AcknowledgementsThe author would like to extend thanks to members of the ManCraft and RawArt group for theirenthusiasmand engagement in the project and for allowingme into theirworld for a fewhours everyweek. The author also wishes to thank Charnwood Arts and Project Co-ordinator’s Jemma Bagley andJamesChantryforalltheirsupportwiththeresearchandinvaluableinsightsintoworkingcreativelywithvulnerableparticipants.ThisresearchhasbeenfundedbyLoughboroughUniversity.

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SarahGreenSarahGreenisacommunity-basedartspractitionerworkingincollaborationwithlocalartsorganisation,Charnwood Arts. She holds a BA in Fine Art and MA Art in the Public Sphere from LoughboroughUniversity. In2015Sarahwasawardeda fully fundedresearchstudentship fromTheSchoolof theArts,EnglishandDramaatLoughboroughUniversity.www.supercrochetgirl.wordpress.coms.c.green@lboro.ac.uk

spinning yarns: textile crafting and emerging dialogue

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