> [!NOTE]+ Meta > Author:: Jennifer Way > Reference:: https://www.researchgate.net/publication/356174790_Healing_WW1_Soldiers_with_Craft_Therapy_and_its_Photographic_Narratives_of_Masculine_Ableism_and_White_Privilege > Date:: 2021 > Tags:: #warp > WeftLinks:: [[Health value of craft]] > Claim:: [[Claim - Craft helps recovery from trauma]] > [!SUMMARY] Summary > Craft played an important role in the rehabilitation of soldiers during World War 1 by helping them alleviate pain, build confidence and develop skills for live back home. ### Highlights 'During World War 1, a new therapeutic modality featuring craft was being used to heal injured soldiers so that ultimately, they could undertake the social and economic responsibilities that helped define their identity as American men. This nascent strand of occupational therapy aimed to divert the convalescing soldiers’ attention from their pain and focus their minds on making craft objects so their bodies would follow and move in ways that proved rehabilitative. As they healed and could leave their beds and move about in hospital wards and therapy workshops, it was hoped that in making craft objects, these men also learned skills they could apply in jobs in the civilian economy. This is not to say all soldiers could access the same type and quality of care, or that making craft ameliorated social suffering based on race. To these points, this essay analyzes an unstudied photograph created by the American photographer Lewis Hine, along with photographs of the same period having similar content, for the ways they depicted ableist masculinity intersecting White privilege in contexts of craft-based healing and in conversation with civilian craft production. By contextualizing features of Hine’s photograph and similar examples in discourses of race comprising segregation, racism, and White privilege, craft therapy and its photography emerge as a means through which rehabilitating the minds and bodies of war-involved men reiterated race-based inequalities in post-World War 1 America.' Jennifer Way