Self-Harm in Secondary Schools: What are the Perceptions and Experiences of Staff ?

The purpose of this study is to explore the perceptions and experiences of secondary school staff with regard to adolescent self-harm. The research was conducted in a Local Authority where there were particular concerns about rising numbers of young people presenting with self-harm. While the majority of young people who self-harm are supported in the community and never access clinical services, surprisingly little research has considered the role of schools and their staff. The research that has been done suggests that school staff can feel underqualified and overwhelmed in their attempts to support young people who self-harm. Further, there is a growing evidence base that when young people experience negative attitudes towards self-harm it is distressing and reduces the chance of them seeking further help. To address this, qualitative exploratory research was conducted with thirteen members of staff working in secondary schools. Since the research was concerned not just with experiences, but also with perceptions of adolescent self-harm, the participants were from two groups: those with direct experience of supporting young people who have self-harmed and those without any direct experience. Data collection involved individual semi-structured interviews which were analysed using thematic analysis. The research indicated that secondary school staff are keen to help and understand young people who self-harm, but that they do not always feel skilled or confident enough to do so, often feeling that some kind of specialist is required and/or fearing that they might make a situation worse. Findings highlighted the emotional impact of this work and illustrated the importance of supporting staff, who expressed a desire for further training and other forms of professional support such as supervision.

Bodily Experience and Restricted Conditions in Contemporary Art

The Doctoral research was carried out with the primary purpose of reviewing past practice designs and for identifying how body movements contributes to these designs. The context in which the body movements are understood are that of discipline enforced by culture and other physio-biological restraints. A discussion on the relationships of body experience in restricted conditions are carried out, which includes the interaction between movement and space in the application of painting, moulding, biological markers, and moving images. The discipline, socially acceptable practices and regulations present in the researcher’s personal life and culture frame the artworks and a fascinating exploration of dynamics between freedom of movement in artwork construction and restrain of behaviour has been analyzed. In the process of art production, significant points discussed were with respect to the identification, succession and repetition of habitual acts. In addition, bodily movement could be considered as a synthesis of spatiality and temporality. The key point which contains the elements of time and space remains relevant to my creative practice and theoretical research. The core interest of my practice is in understanding the settings and simple rules for bodily movement, which is inspired by the past and forms a possible creation for the future. In this research, the attempt was not to display a comprehensive understanding on how body influences the design of art but rather to explain how understanding body movements provides a trace of my works, from origin, the working process and to completion. Relevant artworks and reflection of personal experiences are discussed as needed to help the reader gain more insight on the interactions of body in art creations.