Cultural Humility in Art Therapy: Applications for Practice, Research, Social Justice, Self-Care, and Pedagogy

Abstract

Jackson is clear that cultural humility as a skill set and a state of being may be difficult for some since it is not a “one-size fits all approach” (p. 19). She also recognizes challenges with cultural humility in comparison to like topics. Jackson discusses her early struggles with the word humility, which could diminish the importance of the work of previous art therapy leaders who referred to “cultural competence” (p. 15). By taking the time to explore the historical relevance art therapy has had in cultural awareness, Jackson draws from the work of early pioneer African American art therapists like Georgette Seabrook Powell and Sarah McGee who began the dialogue on the need to adopt different perspectives and methodologies in art therapy. The book is organized into chapters that focus on the elements of cultural humility important for art therapists’ and their practice. Each chapter concludes with a reflective perspective along with an art exercise designed to engage the therapist. Besides Chapter 1 (Introduction), all other chapters describe characteristics – conceptualized as body, eyes, hands, heart, circle, symbols – derived from Jackson’s (2016) doctoral research on the creative responses of the African American art therapists and allied mental health professionals. In Chapter 2, Jackson discusses cultural humility in art therapy research and assessment using the metaphor of body, offering, “a platform of discovery in cultural humility” (p. 54). She begins by exploring the Western influence of knowing, which many see as the origin of art therapy. Knowing, in this way, has been unduly assigned to other cultures, creating a power imbalance. Practitioners can “honor other ways of knowing, leading the therapist to a greater cultural awareness” (p. 39). One example provided is related to the use of language in assessment and how art can provide ways of knowing unlimited by words. Jackson states, “understanding the tacit meanings of art requires the art therapist practicing cultural humility to be attuned to cultural implications” (p. 39). The practice of art and art therapy become the means where tacit knowledge is examined and considered. In Chapter 3, Jackson describes why art therapists should consider cultural variables; self-identity, gender/ sexual orientation, and working in communities with individuals who are unfamiliar with art therapy. The power differential that exists between clients and therapists is another variable often not acknowledged. Having cultural humility means asking “how can I work with the client?” (p. 76). Practicing art therapy in this way can help to eliminate many potential barriers between the client and therapist. Art therapists can examine how their clients experience oppression in society and be reflective in how they themselves hold and wield power and privilege. In Chapter 4, Jackson explores the importance and relevance of community-based art therapy, which has implications for increasing accessibility to those who might otherwise not have it. She exemplified inclusivity in her own work with youth in residential treatment as she considers their need for expression creating projects that invite them in influencing their communities using art. When working with community groups or spaces, Jackson is sensitive to how her presence may be interpreted by the clients she serves. If therapeutic interventions are to be effective and exercise cultural humility, the underlying systems must expand their perspective to incorporate the expertise that already exists within it. Community residents already know what they need; it is not the therapist’s job to fix them or improve their plight. The book balances the subject matter, art responses from African American art therapists who were included in Jackson’s dissertation research, and her shared experiences. Chapter themes support the importance of increasing cultural diversity and inclusion. However, perspectives from practicing art therapists of other ethnicities are only minimally provided. Additionally, insights from those of different gender identities would