BSA303, 3 Minute Thesis slide and talk outline, 5 November, 2017

Talking points:

Domestic violence in NZ

Dr. Evan Kidd, LaTrobe University, Melbourne, Research: imaginary friends in childhood correlates to improved mind performance, emotional understanding, self perception, and personality.

Emotional states and animals chosen.

Further revealed through the "junque aesthetic"

Historical artistic models that address difficult topics: Sesame Street's "Little Children, Big Challenges"

Judges, guests, and members of the SIT family:  I am pleased to talk with you today about my practice-based research project "Girl and the Imagination Warehouse" an animated program for 8-12 year olds focused on emotional intelligence and problem solving.

My key question is: How does the personification of emotions using Girl's imaginary friends address the need to engage children and adults with difficult topics?

First, my academic research:

According to the Campaign for Action on Family Violence, from 2009 to 2012 an average of 32 men, women, and children were killed each year in NZ as a result of family violence; about half of homicides in NZ are committed by an offender who is identified as family.  The "It's Not OK" campaign successfully brought these issues to light by using Kiwi vernacular and emphasizing "unacceptable behavior" instead of "unacceptable people".  Follow up evaluations of the Campaign found that an opportunity to address kids and migrant populations had been missed. 

The internationally broadcast Sesame Street, which has historically addressed math and language skills, has expanded their attention to children's rich emotional lives with their series "Little Children, Big Challenges".  There are many other children's television projects that address emotional development but none are native to New Zealand.  The animated adventures of Girl and her imaginary friends seek to fill a niche in how we as a country think about emotions, react to stress, and problem solve.

According to psychologist Dr. Evan Kidd of La Trobe University, Melbourne, having imaginary friends in childhood is an essential component of normal development.  Children with imaginary friends use their practice inventing interactions and have better conversation skills.  The benefits of being creative, achievement oriented, and emotionally responsive last into adulthood. 

And now, my project-based research:

The show's premise is that Girl is a great kid and sometimes she gets upset.  When this happens, she retreats into her "Imagination Warehouse" where she works her problems out with her imaginary friends.  Each of her friends is based on an animal with self-defense or offense mechanisms that parallel human stress responses.  Let me introduce a few of them to you:  Jellybean, an armadillo, rolls up into a ball.  Teppy, a tuatara, snaps her jaws then smiles charmingly to smooth things over.  Goldie, a possum, binge eats- not even her own tail is safe!  Character traits are further outlined through what I call the "junque aesthetic" of the program.  The Imagination Warehouse is an allegory for the mind- it is a space full of shelves, sealed boxes, and objects.  Some of these objects come to life as Girl's friends.  Jellybean is made from a big furry beanbag, Teppy a tarnished silver tea service, and Goldie a swirl of pasta- the kind that comes in gift jars but never seems to get eaten.  The Imagination Warehouse is made with 3D computer software and the characters are 2D "photo collage' puppets".  The combined effect is a fantasy world that is visually tactile and features a cast of characters reflecting modern, diverse New Zealand that will appeal to children and their adults.