The Global Politics of Art and Trauma: Art Therapy as a Tool of Humanitarian and Cultural Resilience

Abstract

This article explores the evolution of art therapy as a historical, social, and political phenomenon that emerged from the context of the Second World War. It focuses on the pioneering role of British artist Adrian Hill, who coined the term art therapy in 1938 and transformed his personal convalescence experience into a framework for collective psychological recovery. During wartime Britain, Hill’s creative practices addressed the emotional needs of wounded soldiers and contributed to the early recognition of art as a therapeutic tool in institutional medicine.

In the postwar decades, art therapy evolved into an international movement, integrated into state healthcare systems, psychiatric institutions, and educational policies. It was not only a medical or psychological innovation but also a reflection of broader ideological and political processes – particularly during the Cold War, when creative expression was reframed as a form of democratic resilience and cultural diplomacy. The field’s institutionalization across Europe and the United States reflected growing recognition of art’s capacity to bridge personal healing with collective reconstruction.

In contemporary Ukraine, amid the Russian-Ukrainian war, art therapy has regained acute relevance. It has become a vital component of psychosocial support for children, women, and veterans, fostering emotional resilience and community cohesion. As in wartime Britain, artistic creativity again functions as an instrument of healing and self-determination – a means of reclaiming agency in times of national trauma. Thus, art therapy continues to evolve as both a humanitarian and political practice, reaffirming its role within the modern paradigm of democratic resilience.