Compassion Fatigue: Stories/Artworks of an Art Teacher with a Trauma-Informed

Pedagogy and Curriculum

Dissertation

Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy

in the Graduate School of The Ohio State University

By

Audrey Michelle Reeves, M. A.

Graduate Program in Art Education

The Ohio State University

2019

Dissertation Committee:

Professor Christine Ballengee Morris, Advisor

Professor Dana Carlisle Kletchka

Professor Jennifer Richardson

Professor Shari Savage

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 Table of Contents

Chapter 1: Introduction........................................................................................................3
1.1 Background of the Problem.....................................................................................3
1.2 Statement of Purpose...............................................................................................7
1.3 Research Questions................................................................................................15
1.4 Significance of Study.............................................................................................15
References..........................................................................................................................20

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 Chapter 1: Introduction

1.1 Background of the Problem

In high school, art class was my most cherished class and Mr. Art Counts was the

teacher I respected and admired the most. I didn’t feel like just another student he had to

lecture. He asked who was going to take me to prom. He bought us a candy bar on our

birthday. If I was going through a hardship, he would always lend a listening ear and

offered advice. These actions showed me he cared about his students’ lives outside his

classroom. He got to know us each on a personal level and formed authentic and

supportive relationships with us. With each of my favorite teachers from my

undergraduate, masters’, and doctoral education as well, the common thread was that

they were all very empathetic. Mr. Counts, along with other caring educators whom I

had strong relationships with in my life, inspired me to choose the career path as an art

teacher.

As I progressed from art classes in high school to studying art education in

undergraduate school, my studio art classes shifted to centering the ideas communicated

through art, and suddenly art become empowering to me. I was astonished by such a

different definition or function of art. Art classes were suddenly not so concerned with

the elements and principles of art, with the technical skills, or portraying the world

realistically like I was used to in high school. Now we were challenged to really

consider the ideas communicated through our art and focus heavily on incorporating

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meaning. I was unexpectedly asked why my art mattered. What would my artwork do?

What did my artwork say? Art started to become something entirely different to me, full

of meaning, not just beauty, and a space to imagine and create possibilities. My

relationships with my art teachers and an art curriculum rich in meaning became

therapeutic to me and was one of the ways to explore my feelings and express my

emotions and perspectives in the world.

In my doctoral studies, I became interested in how creating art can be a form of

therapy. Many scholars have explored the relationship between art and therapy,

especially within the art therapy profession, but also within art education. The

characteristics described rang true to me. Art is another way to communicate, where

“emotional intelligence is developed” (Andrus, 2006, p. 178). Art provides

opportunities for students to have “more meaningful control over their personal

experience” especially a traumatic experience they are grappling with (Andrus, 2006, p.

178). Art promotes healing through “release and representation of innermost thoughts

and feelings” in a way that is socially acceptable (Rubin, 1982, p. 57). The result of this

meaningful experience is a change in identity, as art promotes a sense of ownership and

helps shape students’ “sense of self and adopt a more positive identity” (Andrus, 2006,

p. 179). Although these concepts are mostly explored in the art therapy realm, these

characteristics are useful within an art education program as well. Why shouldn’t an art

education program provide opportunities for students to express emotion and develop

self-esteem? Surely the art classroom can be utilized to acknowledge students’

“personal and cultural concerns...weaving them into learning experiences in thoughtful

and effective ways” (Andrus, 2006, p. 183). Art teachers should not just be concerned

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with teaching elements and principles of art, but instead should “realize the power of art

to transform their students” (Dunn-Snow & D’ Amelio, 2000, p. 47).

Empowerment and transformation through art was prevalent in my own past art

experiences. When I needed a distraction, creating art became a meditation for me; as I

got into the ‘flow’, I focused on the paintbrush and the feel of the paint in my extended

hand, and everything else in the world seemed to slip away. But in other times, my art

making was transformative. As tough times in my life arose, sometimes art helped me

reveal and work through my muddy emotions about each situation to clarify, understand,

and make sense of my experiences. Personally, I think the strongest purposes for art

education are “social and emotional growth,” “character development,” “exploration of

issues and identity,” exploring “big questions in the world,” and finally “providing a

therapeutic outlet” (Bolin & Hoskins, 2015, p. 47).

What art education can be and do has grown the more I have explored and been

exposed to different pedagogies and theories in the university setting and from observing

other teachers’ classrooms. I saw a shift in art education from Discipline-Based Art

Education in my high school classes to more meaningful art. For example, in my

doctoral program I learned about the use of “big ideas” in the artmaking process by

Walker, art education professor emeritus at The Ohio State University (OSU). She

argued for teachers to update their curriculum from the traditional curriculum (for

example principles of design) to a more expansive curriculum that involved “culture,

students’ lives and contemporary artmaking” (Walker, 2006, pg. 192). Walker

advocated using big ideas to steer learning, such as “identity, relationships, humans and

nature, power, change, [and] conflict” (Walker, 2006, pg. 190). She argued artworks

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should relate to the students’ lives. Students selected a “big idea” to explore all semester

through various artmaking and research projects and then created mind maps relating

their chosen topic to various contemporary artists. This approach to curriculum led to

meaningful projects, in which students could explore ambitious topics and ideas.

The particular time I realized the challenges of meaningful art and “big ideas”

was during my first opportunity teaching an undergraduate writing course at The OSU

called Visual Arts: Exploring Diversity and Social Justice. The first assignment, a

personal identity narrative paper, was due only three weeks into the semester. As I

anxiously sat down to grade my students’ papers, I was amazed at how much the students

opened up to me about personal issues. One student told a story about her struggle

coming to terms with her bisexual identity. Another wrote about her mom dying a slow

death with brain cancer. Students composed stories of battles with anorexia, of poverty,

and of distress with being Muslim in America after the terrorist attacks in the United

States on September 11, 2001. I was shocked that the students trusted me with this

knowledge about themselves, and was lost with how to respond. Although this

assignment was written, I imagine the same conflicts happening within art education

classes, especially if art teachers emphasized exploring identity through transformative

and healing art curricula.

With meaningful and personally relevant art projects come problems, especially if

strong relationships are built between students and teachers. I wasn’t prepared for the

responses I received in my classroom. The only training I received was suicide training

where I was taught not to get too involved, but to push the troubled students towards

receiving help from a certified counselor, which seemed like a distant and cold approach.

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I became interested in the blurred line between private lives and professional or school

lives. My art teacher in high school cared about my private life, and because of that I was

more engaged in the art classroom. Freire, Brazilian educator and philosopher, shares

how a teacher is “of course an artist, but being an artist does not mean that he or she can

make the profile, can shape the students. What the educator does in teaching is to make it

possible for the students to become themselves” (Freire, 1990, p. 302). Caring about

students as holistic people makes it possible for them to feel comfortable being

themselves. However, what happens when what they share about themselves is

troublesome? How does the teacher handle or cope with what she or he learns about

her/his students’ lives and respond in an appropriate but supportive, non-dismissive way?

1.2 Statement of Purpose

My teaching experience with encountering student narratives that rest on the

border between private and professional led to my interest in trauma and how it is

addressed in the art classroom. There are numerous ways an individual’s identity and

emotional challenges outside the classroom impact student learning as well as teacher

health. Interest and research in resilience and Adverse Childhood Experiences (or ACEs)

in education has gained popularity (Felitti, Anda, Nordenberg, Williamsom, Spitz,

Edwards, Koss & Marks, 1998). After finding ACES are very common in students, the

trauma-informed school movement has arisen, resulting in schools removing no-excuse

behavioral policies and punitive punishment, which further exacerbates issues, and

replacing them with a trauma-informed approach. Teachers work to understand the

students’ trauma and stress that causes formally perceived ‘disruptive’ behavior (now

seen as a reaction to prolonged stress). Counselors make visits to the student’s home to

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help the family work through their problems if possible, and give them information on

resources and support groups. Though the trauma-informed movement is exciting, as it

has resulted in decreased referrals and fights in schools, I’m concerned that the teachers

are not being taught the skills to take care of themselves and cope with the trauma they

hear about. My research serves as an opening for others to enter dialogue on how

teachers are affected by the trauma their students experience, and argues teachers cannot

take care of their students if they don’t take care of themselves.

The audience for my research is teachers with empathetic and caring pedagogies,

teachers with curricula utilizing therapeutic art, teachers with compassion fatigue who are

considering dropout, and teachers with a high population of students with trauma. My

research is also aimed at school administrations that have high teacher dropout or

turnaround and/or a high student population with trauma, pushing for more professional

development, support, resources (including counselors), time, and structure to support

and sustain the type of teachers described above.

Many students are affected by poverty, violence, family members that are

addicted to alcohol or drugs, family dissolution, unemployment, abuse and neglect

(Andrus, 2006, p. 182). ACE research showed that one in every three or four students

has experienced significant adversities, characterized and specified as physical abuse,

sexual abuse, emotional abuse, physical or emotional neglect, exposure to domestic

violence, household substance abuse, household mental illness, parental separation or

divorce, and incarcerated household member (Anda & Felitti, 2003). Furthermore,

students experience strain because of the United States’ “continual patterns of inequality

and discrimination based on race, ethnicity, gender, sexual orientation, social class, and

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disability (Sleeter & Grant, 2007, p. 2). Some of these topics are considered taboo,

inappropriate to discuss, private, and not considered the ‘teacher’s job,’ and therefore are

not touched upon in the classroom. Yet they greatly impact the students and classroom

environment, as experiences cannot simply be left outside the classroom door.

Behavioral ‘problems’, distrust of adults, withdrawal and isolation are just a few ways the

experiences manifest. Additionally, many high schools are plagued by violence and

bullying, vandalism, and gang activity (Noguera, 2004, p. 1).

Though violence is not new in schools of lower-economic status, what has caught

national attention in current events is the abundance of violence and crime in schools of

affluent suburbs. Attention to school shootings has drastically increased in recent years,

and high school students have protested lack of attention to gun violence and mental

health issues by walking out of schools. My research aligns and extends the conversation

of the ‘walk up, not out’ movement, which calls for students (and I argue teachers, too) to

walk up to fellow isolated or reserved students and talk to them with compassion,

potentially preventing violent outbursts. My research pushes for preventative measures

through relationship building and supporting student’s wellbeing and mental health

through the art curriculum and working with school counselors. The National Art

Education Association (NAEA) responded to the Santa Fe High School Shooting and

highlighted how arts education experiences “promote better understanding of self and

others, compassion and empathy” but school culture doesn’t have an underlying value of

relationships and mental health for students and teachers (Huyler & Defibaugh, 2018).

How should schools on a structural level emphasize students’ and teachers’ mental and

emotional health? My research argues for approaching mental health proactively as part

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of pedagogy and curriculum, but also pushes for more supportive services for teachers

who approach students with empathy and may hear troublesome stories.

Teachers are experiencing the same trends as other social workers, such as

emergency medical technicians, nurses, doctors, and firemen; trends of detachment and

dropout. Kelly, an associate professor in the Department of Family Medicine at

University of Calgary, described medicine as a practice of distance where it is

unprofessional to display emotion or get too close to patients (2017, p. 123). She notes

how doctors were encouraged to “dissociate themselves from the physical and emotional

turmoil of practice and develop an ‘objective gaze’” (Kelly & Dornan, 2017, p. 123).

While this was practical to avoid contagious patients or protect against infection, it also

created distance, loss of empathy, and re-enforced power dynamics. Kelly observed how

ironically, “a call to care, an idea of connecting with others, is what motivates many of us

to become physicians” (Kelly & Dornan, 2017, p. 123). After “long hours, sleep

deprivation and physical hunger...[medical] students suppress, become more guarded to

express and pay less attention to ‘gut instinct’; or the physical sensations induced by the

emotional reaction of a distressed person in pain” (Kelly & Dornan, 2017, p. 124). Many

of these same issues parallel the structure of school systems. An environment in which

teachers are overworked and under supported may result in an unfortunate distance and

dissociation with students, going against the empathy needed to help students, which

primarily attracted many teachers to the profession.

Constructive and destructive coping strategies for emergency medical service

providers might be similar to how teachers cope with the trauma they hear from their

students. In an article created by an educator, an emergency medicine resident and

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former paramedic, and a program director at the San Fransisco Paramedic Association

outline a destructive list that included workers “keeping thoughts or feelings to oneself,

avoiding conversations about calls, picking and choosing calls, reducing workload to

bare minimum required, consuming alcohol, and engaging in risky behaviors” (Collopy,

Kivlehan, & Snyder, 2012). The constructive list of strategies to cope consisted of

“talking with colleagues, thinking about positive benefits of work, focusing on outside

interests, thinking about [a worker’s] own family, looking forward to off-duty time,

“black” or dark humor, using available mental health services, and talking with [a]

spouse or significant other” (Collopy, 2012). Unfortunately, with teachers, these

discussions of compassion fatigue, burnout, and better ways of coping with seeing

student trauma are absent from the picture altogether.

The medical school at The OSU has responded to the compassion fatigue of

students in the field with the Ether Magazine, an annual magazine where students and

staff create art in response to what they are experiencing in their careers. The magazine

initiates “artistic discussion within the community, allowing the exploration of what it

means to be a medical professional and what it means to be a patient, blurring pre-

conceived notions of what it means to be either” (The Ether Arts Magazine, 2017).

They also created the S.T.A.R. Program (Stress Trauma And Resilience) to offer

medical students the mental and psychological support needed to deal with stress and

trauma. As the trauma experienced by these social workers may be similar to what

teachers might see in the classroom, it would be beneficial to better prepare teachers on

how to handle students’ trauma. A few discussions of compassion fatigue within special

education exist, but unfortunately there was little discussion in regards to art education.

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Along with this gap in literature, there was minimal preparation in regards to how to

respond to students’ trauma within the art education programs I have attended. Other

than suicide prevention and small sections of required readings, which I am thankful to

have had (not many Graduate Teaching Associates (GTAs) are specifically taught a

course on how to teach college courses in other universities) I wish I had more

preparation in my program on how to handle hardships students brought to my attention.

When I first arrived at The OSU, I started my position as a GTA where I served

as the Instructor of Record. The first semester, I enrolled in “Teaching at the College

Level,” a course designed specifically for new GTAs in the Department of Arts

Administration, Education, and Policy, which “focuses on a variety of professional

skills, critical issues, and teaching challenges with which college faculty grapple on a

daily basis” (Savage, 2016, p. 1). We spent a day talking about student mental health

with a professional from “REACH,” which is The OSU’s suicide training program to

‘R’ecognize warning signs, ‘E’ngage with empathy, ‘A’sk about suicide,

‘C’ommunicate hope, and ‘H’elp Access Care/Treatment. Advice was offered for how

to reach out, express concern, and how to connect students to people and services for

help and care. The REACH program urged teachers to build a campus culture of caring

and recommended building strong connections with others in order to prevent suicides.

In my experiences, this was the first time student mental health was addressed within my

teacher education, but it was only discussed for two hours and it was specifically tailored

to help potentially suicidal students.

Two other books required by the course offered bits of advice, though

contradictory, on what to do when students’ hardships are expressed to you as a teacher.

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In a chapter titled “Students as People,” Lang, an associate professor of English at

Assumption College, exclaimed,

You will be tempted...to offer your counsel, drawing upon your life experience
and your instincts and common sense. Resist that temptation...listen patiently and
compassionately, and then give them a brochure and direct them to counseling.
The first time you do this; it will feel cruel—but counseling is not part of your
job” (Lang, 2008, p. 184).

The author then described how “you will not have the time to get emotionally involved in

the personal lives of your students” (Lang, 2008, p. 187). This reminded me of a quote

from Apple, an educational theorist, who notes: “death in the classroom refers to teachers

who stop trying to reach each and every student or teachers who succumb to rules and

regulations that are dehumanizing” (Apple, 1993). Lang’s discussion of how professors

should handle difficult student stories seems distant and apathetic.

Bain, the President of the Best Teachers Institute in New Jersey and Washington

D.C. and the author of the other teaching book required in my College Teaching Course

offered a different take on how to treat students. Bain described a professor, Bell, who

“takes a few minutes at the beginning of each session to talk with them [students] about

their lives and to share personal moments from his own” (Bain, 2004, p. 148). Bell’s

pedagogy blurred the distinctions between private and professional lives which was a

drastically different approach than Lang’s pedagogy. After each class the professor

gathered the students assigned to lead class discussion that day and took a picture of them

“posing the students this way and that with all of the concern, love, and pride of a parent

at a graduation ceremony” (Bain, 2004, p. 149). He then took the team out to eat to talk

and explore the students’ “lives and ambitions, marvels at their accomplishments, [and]

shares their concerns” (Bain, 2004, p. 149). Although Bain didn’t say how the professor

13
handled student hardships, I can’t imagine him simply giving a student a brochure to go

to the college’s Counseling Services.

I agree that handling student hardship is the counselor’s job, but I advocate for art

teachers and counselors to create better relationships to work with students experiencing

trauma together. It is not acceptable to simply pass a brochure to a student in a K-12

setting. Since the student came to the teacher with a problem probably because of a

strong established relationship, passing a brochure would surely damage the relationship

and trust that was previously built. Also, sometimes students that need counseling the

most don’t get help because of our cultural stigma; the need for counseling is perceived

as a weakness, is embarrassing, or the student is not interested in talking to a stranger. At

The OSU, we have high quality free counseling and assistance provided by our

Counseling and Consultation Service, and although there is immediate assistance for

emergencies, scheduling an appointment can take up to a few weeks. Furthermore, while

many colleges have specialized services offered for students, mandates for counselors in

K-12 education varied greatly state by state. According to the American School

Counselor Association (2017), Ohio doesn’t require a counselor by law, and a mandate is

not currently being considered. Some schools may not have counselors due to lack of

funding, and others may have counselors rotating between multiple schools throughout

the week. With shortages of counselors and long waiting lists, I advocate for art teachers

to bridge the gap between the students who reach out to them and counselors (if

counselors are available). Art teachers and counselors can work as partners for the social

welfare of students. If no counselors exist, art teachers may be the only source for help

14
for students who are struggling, and may be the only ones to point kids in the direction of

community resources.

Teachers won’t be able to help students if they are not taking care of themselves.

With support, teachers can keep facilitating meaningful art lessons and practice

compassionate pedagogies that connect to students lives, creating a transformative and

healing space for students. Although I have never received any services from an art

therapist, art education, for me, provided an encouraging community and helped me

heal. After hearing difficult stories from my students, I realized I don’t have the

experience, preparation, or support to help my students through their troubles. The

purpose of this study was to bring the challenges of a humanizing pedagogy to light in

order to create a conversation to work through these challenges. It is necessary to

prepare and support teachers committed to a meaningful and transformative curriculum.

For this to happen, I developed the research questions:

1.3 Research Questions

1. What are the challenges of being an empathetic teacher? How do art teachers

cope with the trauma they see their students going through? Does lack of

coping, or destructive coping strategies lead to detachment and compassion

fatigue? How might compassion fatigue impact the classroom, in regards to

curriculum and pedagogy?

2. How can schools nurture empathetic teachers? How can schools and teacher

preparation programs create better support systems and resources for teachers

experiencing compassion fatigue?

1.4 Significance of Study

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 The significance of the study was to better understand the role art teachers play

in the complex development of social welfare of students and to create dialogue for

teachers that have students with trauma. With greater support for teachers, especially

those whose school might not have access to a counselor or an art therapist, my study

could help the health and wellbeing of both teachers and students. My study encourages

teachers to not shy away from meaningful but possibly difficult lessons that empower

students. Finally, this study encourages teachers to form authentic relationships with

their students.

An example of a support system for teachers experiencing compassion fatigue is

an art counselling intervention for educators in South Africa:

“Educators in South Africa are actually bearing the brunt of the impact of
poverty, domestic violence, child abuse, and AIDS on a daily basis in their
classrooms. Children are coming into the classroom hungry, neglected, [and]
abused...Educators have to deal with this behavior, which can often be
provocative, disturbing, and disruptive. Most educators do not have the support
or skills to deal with the psycho-social situations that they face.” (Booth, 2007, p.
171).

To re-empower teachers, an art-counseling intervention was designed for the educators

who worked with vulnerable children to “provide psycho-social support to educators; to

empower educators; and to nurture empathetic and understanding educators” (Booth,

2007, p. 173). Booth, an art psychotherapist, assumed that if educators’ emotional needs

were met, they would be better able to provide emotional support for learners (Booth,

2007, p. 173). The intervention worked on nurturing teachers’ “basic art-counseling

skills – the ability to listen, to empathize, to observe, to create a safe environment, [and]

to reflect feelings” (Booth, 2007, p. 183). In the end, the intervention built “empathy,

resilience, motivation, self-esteem, and the capacity to continue making a difference in

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schools and the lives of vulnerable children” (Booth, 2007, p. 172). Schools in the U.S.

could take a similar approach to supporting teachers by providing time to talk in a group

setting and work with an art therapist.

The impact of not preparing teachers with the skills they need in environments of

student trauma is teacher burnout and dropout. Burnout is defined as “a syndrome of

emotional exhaustion, depersonalization, and a reduced sense of personal

accomplishment” (Hoffman, Palladino, & Barnett, 2007, p. 16). Burnout can eventually

lead to dropout, which harms the students by halting trusted relationships and intimacy

as attachments are broken. Teachers with an enormous capacity for feeling and

expressing empathy tend to be more at risk of compassion fatigue and burnout (Joinson,

1992, p. 116). Teachers may not experience the student’s trauma firsthand but

symptoms such as emotions, nightmares, sleep difficulties, and headaches, to just name

a few, still arise (Hoffman, Palladino, & Barnett, 2007, p. 17). Preparation within

teacher education and school support in the K-12 systems may help prevent burnout.

Chang (2014), a music therapist, examined burnout by interviewing six music

therapists practicing in Canada ranging from one to over fifteen years of experience in

the field. Chang’s research offers a more optimistic perspective on burnout. In the

interviews, the teachers expressed that burnout can turn out to be a positive experience,

allowing for self-growth and exploration. Teachers highlighted that being aware of

burnout before it happened, knowing what causes it, the symptoms, and how to resolve

it saved the teachers from dropping out. The findings demonstrate that discussion of

burnout and self-care during training as well as creating support systems and resources

for when burnout occurs played a key role in the music therapists’ experiences.

17
Therefore, burnout may be bound to happen and teachers just lack the knowledge and

resources to identify it and resolve it. This study offers insights and understanding of

teacher burnout and how to potentially resolve it.

Unfortunately, teaching has been described as a profession with a “ripe history of

burnout, job dissatisfaction, and teacher attrition” (Scheib, 2006). A study done in 2016

interviewed and surveyed teachers that had recently left the profession (“Reasons why

teachers leave,” 2016). The article states many teachers leave the profession because of

the huge workload that leads to no home life, poor school leadership, bullying, no

respect, continued assessment, narrow curriculum, and an obsession with data (“Reasons

why teachers leave,” 2016). Teachers may leave the profession because of fatigue and

loss of empathy. Educators who are “feeling stressed, unsupported, overwhelmed, and

demotivated” results in “absenteeism, lack of commitment to teaching, and a general

feeling of powerlessness” (Booth, 2007, p. 172). Teacher burnout is a pressing problem

that hasn’t been addressed in a preventive way. This point is demonstrated by Scheib

(2006), Dean of the College of Fine Arts at The University of Utah, who stated “local

school districts throughout the country are searching for solutions to the teacher

shortage, however, most of these solutions focus on the recruitment of teachers to

replace those who leave.” Instead of focusing on how to bring more teachers to the field,

it would be more productive to address how to keep teachers in the field and support

them, especially teachers with burnout and/or compassion fatigue (Scheib, 2006).

This introduction briefly presented topics of therapeutic art, creative

expressionist art values, forming authentic student relationships, humanizing

pedagogies, and professional development/support for teachers as well as issues of

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compassion fatigue, burnout, dropout, and student trauma. Next, I discuss these topics

and issues more fully in the literature review. For readers more interested in storying

and arts-based research or critical pedagogy and post-structuralism theory, I recommend

going to Chapter 3.

19
 References

Anda R.F., & Felitti, V.J. (2003). Origins and essence of the study. ACE Reporter.
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Andrus, L. (2006). Art education, art therapy and therapeutic teaching: Definitions,
distinctions, and common ground. In Gerber, B. L., Guay, D. M. (Eds.), Reaching
and teaching: Students with special needs through art (pp. 177-188). Reston, VA:
National Art Education Association.

Apple, M. (1993). Official knowledge. New York, NY: Routledge.

Bain, K. (2004). What the best college teachers do. Cambridge, MA: President and
Fellows of Harvard College.

Bolin, P., & Hoskins, K. (2015). Reflecting on our beliefs and actions: Purposeful
practice in art education. Art Education, 68(4), pg. 46-47.

Booth, M. (2013). Supporting educators to support learners. Journal for African Culture
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traumatic-stress-disorder-in-prehospital-providers

Chang, K. (2014). An opportunity for positive change and growth: Music therapists'
experiences of burnout. Canadian Journal of Music Therapy, 20 (2), p.64-85.

Dunn-Snow, P. & D’Amelio, G. (2000). How art teachers can enhance artmaking as a
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Felitti, V. J., Anda, R. F., Nordenberg, D., Williamsom, D. F., Spitz, A. M., Edwards, V.,
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Freire, P., Horton, M., Bell, B., Gaventa, J., & Peters, J. M. (1990). We make the road by
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Huyler Defibaugh, K. (2018). NAEA statement in response to the Santa Fe High School
shooting of May 18, 2018 press release. NAEA News. Retrieved from
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the-santa-fe-high-school-shooting-of-may-18-2018

Joinson, C. (1992). Coping with compassion fatigue. Nursing, 22, 116-122.

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Lang, J. M. (2008). A week-by-week guide to your first semester of college teaching.

Cambridge, MA: President and Fellows of Harvard College.

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Leadership, 61(8), p. 26-31.

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