Riley-Hiscox, Anna

185 Pages·2017·3.17 MB·English

by  Daniel Vinson

Illuminating Domestic Violence Through Art and Stories of Men Who Are Batterers

by
Anna Riley-Hiscox

A Culminating Project and Dissertation
Submitted to the Faculty of the Graduate School, Mount Mary University,
in Partial Fulfillment of the Requirements for the
Degree of Doctor of Art Therapy

Milwaukee, Wisconsin
May 2017
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©, Anna Riley-Hiscox
2017
ALL RIGHTS RESERVED
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Illuminating Domestic Violence Through Art and Stories of Men Who Are Batterers

Approved by

________________________________________ __________________
Lynn Kapitan, PhD, ATR-BC (Chair of Committee) Date

________________________________________ __________________
Bruce Moon, PhD, ATR-BC (Second Core Faculty) Date

________________________________________ __________________
David Gussak, PhD, ATR-BC (Committee Member) Date

________________________________________ __________________
Natalie Farnsworth, PhD, (Committee Member) Date
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Abstract
Illuminating Domestic Violence Through Art and Stories of Men Who Are Batterers
This dissertation project presents a portfolio of creative nonfiction stories of male
batterers from their participation in a 52-week domestic violence (DV) group and
accompanying review of the literature, description of the methodology, and reflections on
the project’s implications. Participants were 7 males (22–36 years old) from diverse
ethnic and cultural backgrounds who were court mandated to participate in a batterer
intervention program for spousal abuse, partner abuse, or intimate partner abuse.
Working from detailed case notes, narrative inquiry and art-based research methods were
used to produce 7 stories, which were enhanced by the group facilitator/art therapist’s
own art reflections in the form of charcoal drawings. These stories are intended to break
down stereotypical assumptions about male batterers by illuminating the complex
emotional narratives of intimate partner abuse. The author posits that current DV
treatment programs need to be updated with current research and improved by art therapy
directives and skilled facilitation.

Key words: domestic violence, batterer, batterer intervention facilitators, batterer
intervention programs, spousal abuse, partner violence, intimate partner abuse
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Acknowledgements
This dissertation is dedicated to my sisters Deborah Mazer, Lucretia Coleman,
Salathiel Coleman, and Leslie Gay Solano. Without the support and encouragement of
this team of amazing women this project would not have come to fruition.
A special thank you to Dr. Lynn Kapitan, who impelled me to achieve
professional proficiencies that were dormant. Your expertise in so many areas of art
therapy inspires my tenacious curiosity to excel beyond my expectations. I appreciate
having you as my committee chair.
Thank you, Dr. Bruce Moon, Dr. David Gussak, and Dr. Natalie Farnsworth for
your dedication as committee members. Your commitment to this project is greatly
appreciated.
Lastly, thank you to Ryan Parker and the rest of Mount Mary University library
staff for making my educational pursuit a wonderful experience.

Dedication
I dedicate this work to M.R., who could not speak yet has changed the trajectory
of my career. I am grateful to the men who participated in the 52-week domestic violence
prevention group. These participants are fathers, brothers, and husbands who have
volunteered their stories to help broaden understanding of psychoeducation for batterers.
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Table of Contents

Acknowledgments and Dedication ......................................................................................v
List of Figures .................................................................................................................... ix

CHAPTER 1: INTRODUCTION ........................................................................................1

Personal Motivations ...............................................................................................1
The Domestic Violence Prevention Project .............................................................3
Psychoeducational Art Therapy Contributions to Healing Domestic Abuse ...........5
Overview of the Contextual Essay ...........................................................................7

CHAPTER 2: REVIEW OF THE LITERATURE ..............................................................8

The History of Scholarship on Domestic Violence .................................................8
Violence Against Women Act ...............................................................................10
Standardizing Batterer Intervention Programs .......................................................15
Characteristic Personality Features of Batterers ....................................................16
Domestic Violence: Treatment and Epistemology ................................................22

The Duluth Model ......................................................................................22
Treating Psychological Disorders ..............................................................24
Creative Interventions for DV Treatment ..................................................28

Neuroscience and Violence ....................................................................................34
Art Therapy Contributions to the Neuroscience of Domestic Violence
Treatment ...............................................................................................................38
Use of Art for Interpretation and Meaning Making ...............................................42
Creative Nonfiction Narratives ..............................................................................45
Conclusion .............................................................................................................51

CHAPTER 3: DESCRIPTION OF THE RESEARCH PROJECT ...................................52

Relevance to Art Therapy Literature and Practice .................................................52
Research Design .....................................................................................................53
Data Collection and Analysis.................................................................................55
Ethical Considerations ...........................................................................................56

CHAPTER 4: THE CREATIVE PORTFOLIO .................................................................58

Foreign World Order: Bautista’s Story ..................................................................59

Addictive Behavior and the Cycle of Violence .........................................62
Musing and Creative Unfolding.................................................................64
The Intervention: Sculpting Truth and Compassion ..................................66
Inner Vision: The Artist/Therapist .............................................................68
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Cocreating a Life: Tye’s Story of Recovery ..........................................................69

The Art of Letting Go ................................................................................73
The Phenomenon of the Image: Know Thy Self .......................................77
Conclusion .................................................................................................78

Love and Intensity: The Story of Jay .....................................................................79

Anger Management and Responsibility .....................................................83
The “Art” of Storytelling ...........................................................................84
The Alchemy of Creativity ........................................................................87
Emotional Naiveté, Playfulness, and Stress ...............................................88
Conclusion .................................................................................................89

Wiley: The Road to Recovery ................................................................................90

Mental Illness Underlying Wiley’s Violence ............................................92
The Struggle for Accountability ................................................................94
Vortex of Insanity ......................................................................................95
The Mind’s Reflective Canvas ...................................................................99
Conclusion ...............................................................................................102

Malcolm: Chasing the Neutral Zone ....................................................................102

Women Are Inferior .................................................................................104
Life Is Black and White ...........................................................................106
Betrayed by Family and Society ..............................................................109
Muse, Reimagining, and Self-Reflection .................................................111
Turning Point ...........................................................................................112
Creativity and Personal Growth ...............................................................114
Malcolm’s Shadow ..................................................................................115
Introspection, Vision, and Clarity ............................................................118
Conclusion ...............................................................................................119

Billy: Living on the Edge .....................................................................................120
No Regrets: Session 1 ..............................................................................122
Impervious and Lawless: Session 2 .........................................................123
Identity and Empathy: Session 3..............................................................124
The Interlude: Self-Concept and Artistic Perception ...............................126
The Art of Reflection and Self-Healing ...................................................129
Conclusion ...............................................................................................131

Dear Lover: Ken’s Ephemeral Attachment ..........................................................132

Ken’s Story ..............................................................................................132
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Emergent Aesthetics ................................................................................138
Conclusion ...............................................................................................140

CHAPTER 5: REFLECTIONS AND IMPLICATIONS OF THE PROJECT ................142

Seven Journeys Leading to Intimate Partner Violence ........................................143

Culture and Domestic Violence: Bautista’s Story ...................................143
Family Dynamics: Malcolm’s Story ........................................................144
Mental Health, Attachment, and Intimate Partner Violence: Wiley’s
Story .........................................................................................................145
Intergenerational Patterns of Behavior: Tye’s Story ...............................146
Power and Control: Jay’s
Story 148 ............................. Comorbidity of DV With Psychopathic Features: Billy’s
Story 150
Hidden in Plain Sight: Ken’s Love Story ................................................149

Group Process ......................................................................................................150
Art Therapy: An Innovative Paradigm for Intimate Partner Violence
Treatment .............................................................................................................151

The Art Therapist and the Triadic Relationship ......................................152
Self-Portrait of the Soul: Reflective Musing as a Research Strategy ......152

Conclusion ...........................................................................................................157

References ........................................................................................................................162
Appendix: Informed Consent Form .................................................................................171
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List of Figures
Figure 1. Bird Self-Portrait (Bautista) ...............................................................................67
Figure 2. The Leaf (Response Art) ....................................................................................70
Figure 3. Hopes for the Future (Tye) .................................................................................78
Figure 4. Journey (Response Art) ......................................................................................79
Figure 5. Substance Abuse (Jay) ........................................................................................87
Figure 6. Broken Heart (Jay) .............................................................................................88
Figure 7. The Gift (Response Art) .....................................................................................89
Figure 8. Rescue (Response Art) .......................................................................................90
Figure 9. Shattered I (Wiley) .............................................................................................98
Figure 10. Shattered II (Wiley) ..........................................................................................99
Figure 11. Impulse (Wiley) ................................................................................................99
Figure 12. Crucifixion (Wiley) ........................................................................................100
Figure 13. Wiley’s Reality (Response Art) ......................................................................102
Figure 14. Malcolm’s Response to the Drawing Task .....................................................114
Figure 15. Malcolm’s Family Genogram .........................................................................115
Figure 16. Malcolm’s Shadow (Response Art) ................................................................118
Figure 17. Hidden (Response Art) ...................................................................................121
Figure 18. Bear Self-Portrait (Billy) ................................................................................129
Figure 19. Billy 666 (Billy) .............................................................................................130
Figure 20. Fear (Billy) .....................................................................................................131
Figure 21. Emotional Eruption (Response Art) ...............................................................131
Figure 22. Letting Go (Response Art) .............................................................................133
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Figure 23. Buddies (Ken) .................................................................................................137
Figure 24. Dear Lover (Ken) ...........................................................................................138
Figure 25. Forgiveness (Ken) ..........................................................................................139
Figure 26. Letting Go (Response Art) .............................................................................140
Figure 27. Transcendence (Response Art) .......................................................................141
Figure 28. Baobab Tree (Response Art) ..........................................................................141
Figure 29. Journey (Response Art) ..................................................................................142