A collection of children’s drawings made during the pandemic illustrates the mental toll the pandemic is taking on Canadian youth, says the researcher behind a project analyzing their artwork.
Many of the submissions by kids and teenagers on childart.ca depict people alone, haunted by shadowy spectres, or worse, their own thoughts.
Collectively, the images paint a stark picture of how the trials of young life under lockdown could shape the next generation, says Nikki Martyn, program head of early childhood studies at University of Guelph-Humber.
While the study is still underway, Martyn said initial observations suggest that coming of age during the COVID-19 crisis can create an emotional maelstrom during a critical period of adolescent development.
Being a teenager is tough enough at the best of times, she said, but finding your place in the world while stuck at home has left many young people feeling like they have no future to look forward to.
“The saddest part for me … is that kind of loss of not being able to see through to the other side,” she said.
“There’s so much pain and so much struggle right now that I think needs to be shared and seen, so that we can support our youth and make sure they become healthy adults.”
Since September, Martyn’s team has received more than 120 pieces from Canadians aged two to 18, submitted anonymously with parental permission, along with some background information and written responses.
Martyn marvelled at the breadth of creative talent the project has attracted, with submissions ranging from doodles, sketches, digital drawings, paintings, pastels, photos and even one musical composition.
Researchers circulated the call for young artists at schools and on social media. While the collection includes a few tot-scribbled masterpieces, Martyn said the majority of contributors are between the ages of 14 and 17.
As the submissions trickled in, she was struck by the potent and sometimes graphic depictions of adolescent anxiety, despair and isolation.
Recurring themes include confined figures, screaming faces, phantasmic presences, gory imagery and infringing darkness.
Some images contain allusions to self-harm, which Martyn sees as a physical representation of the pain afflicting so many of the study’s participants.
Just as unsettling are the words that accompany the images. Some artists transcribed the relentless patter of pandemic-related concerns that pervade daily life, while others expressed sentiments like “I’m broken,” “this is too much” and “what’s the point?”
Martyn said many participants wrote of struggling to keep up in school, while some were dealing with family problems such as job loss, illness and even death.
Many of these feelings and challenges are common across age groups, Martyn noted. However, while adults are more accustomed to the ups and downs that life can bring, young people are less likely to have fostered the coping skills to help them weather a global crisis.
A coalition of Canadian children’s hospitals has warned that the pandemic is fomenting a youth mental-health crisis with potentially “catastrophic” short- and long-term consequences for children’s wellbeing and growth.
This would be consistent with research from previous outbreaks suggesting that young people are more vulnerable to the negative psychological impacts of quarantine, including increased risk of post-traumatic stress, depression, anxiety and behavioural problems, according to an August report by Children’s Mental Health Ontario.
An online survey of 1,300 Ontario children and young adults last spring found that nearly two-thirds of respondents felt that their mental health had deteriorated since COVID-19 hit, with many citing the abrupt end of school, disconnection from friends and uncertainty about the future as significant stressors.
Lydia Muyingo, a PhD student in clinical psychology at Dalhousie University, said when she looks through the images in the childart.ca gallery, she can see how these concerns are confounding the typical turmoil of being a teenager.
Adolescence is a time for young people to figure out who they are through new experiences, interests and social interactions, said Muyingo.
This transition tends to bring about intense emotions, she said, and the pandemic has exacerbated this upheaval by replacing familiar anxieties about fitting in with fears about mortality.
Muyingo said she’s encouraged to see that the childart.ca project is giving young people an outlet for these difficult feelings they may not even be able to put words to.
She encouraged adults to keep an eye out for children’s silent struggles, perhaps setting an example by sharing their own vulnerabilities.
“I think parents are sometimes scared of talking about dark themes, but the reality is that kids know a lot more than we think,” she said. “I think art like this can be used as a tool to communicate that it’s OK to feel this way.”
Martyn said the study has given her hope for what a future led by the quarantined generation could look like, because while pain pervades many of the illustrations, there are also symbols of resilience, connection and compassion.
“One of my visions from the very beginning of this was to have this as an art exhibit in a gallery, and to be able to go and be enveloped by it, have it around us and fully experience that lived idea of what children in Canada experienced.”
This report by The Canadian Press was first published Jan. 14, 2021.
LONDON (AP) — With a few daubs of a paintbrush, the Brontë sisters have got their dots back.
More than eight decades after it was installed, a memorial to the three 19th-century sibling novelists in London’s Westminster Abbey was amended Thursday to restore the diaereses – the two dots over the e in their surname.
The dots — which indicate that the name is pronounced “brontay” rather than “bront” — were omitted when the stone tablet commemorating Charlotte, Emily and Anne was erected in the abbey’s Poets’ Corner in October 1939, just after the outbreak of World War II.
They were restored after Brontë historian Sharon Wright, editor of the Brontë Society Gazette, raised the issue with Dean of Westminster David Hoyle. The abbey asked its stonemason to tap in the dots and its conservator to paint them.
“There’s no paper record for anyone complaining about this or mentioning this, so I just wanted to put it right, really,” Wright said. “These three Yorkshire women deserve their place here, but they also deserve to have their name spelled correctly.”
It’s believed the writers’ Irish father Patrick changed the spelling of his surname from Brunty or Prunty when he went to university in England.
Raised on the wild Yorkshire moors, all three sisters died before they were 40, leaving enduring novels including Charlotte’s “Jane Eyre,” Emily’s “Wuthering Heights” and Anne’s “The Tenant of Wildfell Hall.”
Rebecca Yorke, director of the Brontë Society, welcomed the restoration.
“As the Brontës and their work are loved and respected all over the world, it’s entirely appropriate that their name is spelled correctly on their memorial,” she said.
