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Tonight we are looking at the unlikely story of some | :00:12. | :00:17. | |
extraordinary men. Men who answered the country's call for service, but | :00:17. | :00:21. | |
decades after they fought in our name, are still fighting their own | :00:21. | :00:26. | |
personal battles. I hated the army so much when I got out. So there | :00:26. | :00:33. | |
you were cast adrift. With nothing. -- suddenly you laugh. The military | :00:33. | :00:40. | |
was my family. But it caused me quite a lot of damage. It is not | :00:40. | :00:45. | |
just physical scars they bear but the physical wounds of war, combat- | :00:45. | :00:48. | |
related post-traumatic stress disorder, PTSD, a condition which | :00:48. | :00:53. | |
has existed as long as men have been asked to fight. Sleepless | :00:53. | :00:56. | |
nights, inability to relax, continuous fear about the | :00:56. | :01:01. | |
approaching night. I suffer with intrusive thoughts from my time in | :01:02. | :01:08. | |
the Falklands. It does not go away. Invisible wounds they are trying to | :01:08. | :01:15. | |
heal using art. For me, it is not a canvas, but a life. It is the most | :01:15. | :01:20. | |
powerful of the therapies I have tried. Are you saying that without | :01:20. | :01:26. | |
that therapy you might not be here? Positive MACRO. Definitely. But can | :01:26. | :01:30. | |
the power of art really help rebuild the lives of those who have | :01:30. | :01:38. | |
been damaged years after swearing an oath to Queen and country? | :01:38. | :01:42. | |
swore by Almighty God that I would be faithful and bear true | :01:42. | :01:48. | |
allegiance. The to Her Majesty Queen Elizabeth the Second, her | :01:48. | :01:56. | |
heirs and successors... And that I will honestly and faithfully... | :01:56. | :02:02. | |
Defender Majesty, her heirs and successors... In person, Crown and | :02:02. | :02:08. | |
dignity against all enemies... well-observed and obey orders of | :02:08. | :02:14. | |
Her Majesty, her heirs and successors... And of the generals | :02:14. | :02:24. | |
:02:24. | :02:38. | ||
Just as it seems inevitable that countries will always go to war, so | :02:38. | :02:43. | |
it seems inescapable that there will always be haunting human | :02:43. | :02:47. | |
consequences. During the First World War the condition we now know | :02:47. | :02:51. | |
as post-traumatic stress disorder was labelled a lack of moral fibre. | :02:51. | :02:58. | |
Or more simply, shell-shock. Often viewed as a kind of emotional | :02:58. | :03:03. | |
weakness, or even cowardice, it is a disorder where the memories of | :03:03. | :03:07. | |
traumatic events are frozen in the brain and can be triggered by the | :03:07. | :03:10. | |
slightest thing, meaning people with PTSD still feel the same | :03:10. | :03:20. | |
:03:20. | :03:36. | ||
intense Vere, even years after the It seems one enduring constant | :03:36. | :03:39. | |
among the ever changing face of war is the damaging psychological | :03:39. | :03:45. | |
legacy amongst those asked to fight. The condition finally gained | :03:45. | :03:54. | |
official recognition after Vietnam. 1.5 million US troops fought active | :03:54. | :03:59. | |
combat during the conflict and many returned traumatised. The effects | :03:59. | :04:02. | |
experienced high suicide rates and criminal convictions, many | :04:02. | :04:07. | |
developed drug and alcohol problems, they began demanding answers. The | :04:07. | :04:11. | |
condition that had been so easily dismissed for generations was | :04:11. | :04:18. | |
finally given a medical diagnosis, post-traumatic stress disorder. The | :04:18. | :04:23. | |
turning point for recognising PTSD in the UK was the Falklands war. A | :04:23. | :04:31. | |
conflict where it is believed more troops have since taken their own | :04:31. | :04:36. | |
lives. After the Falklands it only became gradually acknowledged | :04:36. | :04:42. | |
within military psychiatric circles that this was a real issue. | :04:42. | :04:47. | |
modern face of Battle related trauma, men who have served in | :04:47. | :04:57. | |
:04:57. | :04:58. | ||
Belfast, Bosnia and beyond, each What might seem like an every day | :04:58. | :05:04. | |
trip to the Tate Modern in London is actually a challenging mission, | :05:04. | :05:14. | |
:05:14. | :05:17. | ||
How do you feel being in a public space? It is not too crowded. I | :05:18. | :05:27. | |
:05:28. | :05:28. | ||
know one of the lads is keeping an eye on me. D'you like it? I do. I | :05:28. | :05:35. | |
feel like I want to walk up the steps. Some of it is so weird. | :05:35. | :05:44. | |
These men must be mental! Is this your favourite piece? In looks very | :05:44. | :05:52. | |
beautiful. It is an aspiration to me, it is like you want to go | :05:52. | :05:56. | |
somewhere but it is not possible to get there. I only come here with | :05:56. | :06:00. | |
Combat Stress because I feel safe with them. I would not come here on | :06:00. | :06:04. | |
my own but I would like to be here a my own to have that confidence. | :06:04. | :06:11. | |
Could you give that a go next time? I don't know. For the present time | :06:11. | :06:15. | |
I count my blessings. They were brought to the Tate Modern for | :06:15. | :06:19. | |
therapeutic reasons by a Combat Stress, a charity at the forefront | :06:19. | :06:27. | |
of fighting the mental health effects of conflict. The mind tries | :06:27. | :06:32. | |
to represent the material for filing so you get nightmares, | :06:32. | :06:36. | |
flashbacks and intrusive memories. You become up tight, you get | :06:36. | :06:41. | |
anxiety symptoms with panic attacks, irritability, anger outbursts, | :06:41. | :06:47. | |
difficulty sleeping, poor concentration. In the military | :06:47. | :06:53. | |
people perceive themselves as being invincible and fairly macho, for | :06:53. | :06:58. | |
the vast majority it takes a long time before they ask for help. In | :06:58. | :07:08. | |
:07:08. | :07:13. | ||
fact, the average is around 13 It took Frank and Bones way it more | :07:13. | :07:19. | |
than 13 years before they got help. -- Wayne Moores. I have joined them | :07:19. | :07:29. | |
:07:29. | :07:31. | ||
for my first go at fishing. -- way more. You will need one of these. | :07:31. | :07:36. | |
Flick it forward and let go with your finger. Where has it gone? | :07:36. | :07:42. | |
the air. I think I caught a plant! You are not going away empty- | :07:42. | :07:48. | |
handed! Frank joined the Paras when he was 18 and served for eight | :07:49. | :07:53. | |
years in Northern Ireland, as it turned from a peacekeeping mission | :07:53. | :08:00. | |
into one of the bloodiest periods in UK history. The day he left he | :08:00. | :08:04. | |
threw all his medals into the dustbin. In some ways it was closer | :08:04. | :08:13. | |
than a family, then all of a sudden, there you are, cast adrift, where | :08:13. | :08:22. | |
do I go? What do we do? When do you think you're PTSD kicked in? | :08:22. | :08:30. | |
goes back to 1971. In Northern Ireland. That is a little bite, we | :08:30. | :08:37. | |
have something interested in debate. How many years was that after you | :08:37. | :08:43. | |
left the army that you were diagnosed with PTSD? Nearly 30 | :08:43. | :08:51. | |
years after leaving the forces. years of going around undiagnosed. | :08:51. | :08:59. | |
Correct. How would your life have been different if there was | :08:59. | :09:03. | |
diagnosed 30 years ago? I probably would not have got into the trouble | :09:03. | :09:13. | |
:09:13. | :09:14. | ||
I got into. I would probably be married to my first wife. The | :09:14. | :09:20. | |
alcoholism, drug abuse is part and parcel of PTSD. So where would my | :09:20. | :09:30. | |
:09:30. | :09:31. | ||
life be? I do not know. When you get flashbacks, are they like | :09:31. | :09:38. | |
daydreams, or like being back there? Depending on what has caused | :09:38. | :09:43. | |
it, it can be back in the event. For example, the other week I | :09:43. | :09:50. | |
stopped at a little cafe and I was sat there and suddenly the sash | :09:50. | :09:56. | |
window across the other side came up six inches and the net curtain | :09:56. | :10:02. | |
blew out and I dived for the floor, under the table. People were going | :10:02. | :10:10. | |
what the hell...? To explain to them that that was -- I explained | :10:10. | :10:20. | |
:10:20. | :10:29. | ||
to them it was a sniper. That was I can see the attraction of fishing | :10:29. | :10:39. | |
:10:39. | :10:46. | ||
Bones's PTSD stems from his time on HMS Sheffield during the Falklands, | :10:46. | :10:51. | |
he went undiagnosed for 17 years. 20 crewmen died during the attack. | :10:51. | :10:56. | |
The heat generated by fires in the ship was so intense that | :10:56. | :11:06. | |
:11:06. | :11:06. | ||
eyewitnesses said the whole blistered and felt like snow. -- | :11:06. | :11:15. | |
hull. After the initial impact they asked for a volunteer, I | :11:15. | :11:22. | |
volunteered, that is why I am like I am. Inside it is a mess some days. | :11:22. | :11:28. | |
Complete and utter carnage. There was a photograph in the papers at | :11:28. | :11:35. | |
the time of you coming off the boat saying you're war was over. Yes, | :11:35. | :11:40. | |
but as you can see, my war is not over. It's like that for other guys | :11:40. | :11:48. | |
as well. Alex Coker also left the Army but combat-related PTSD and | :11:48. | :11:52. | |
now gets treatment at Combat Stress. He joined at 18 and was a Corporal | :11:52. | :11:57. | |
in the Royal Engineers. He survived constant missile attacks in the | :11:57. | :12:03. | |
first Gulf war, and was would be UN in Rwanda. What other jobs have you | :12:03. | :12:09. | |
done since you left the forces? worked as a sheet metal places. | :12:09. | :12:14. | |
Since he left, he has struggled with feelings of aggression and | :12:14. | :12:20. | |
anxiety, for which he is now one medication to keep in check. I am | :12:20. | :12:26. | |
alert all the time. If somebody claps a jump out of my skin, | :12:26. | :12:31. | |
sweating and night, my head is racing all the time. What goes | :12:31. | :12:39. | |
through your mind? I don't know really. It is like a constant noise | :12:39. | :12:43. | |
in my head. I did nothing there was anything wrong with me, I thought I | :12:43. | :12:51. | |
was like anybody else. I hated the army so much when I got out I did | :12:51. | :12:57. | |
not know what to think. That is a lot of what goes on in my head, I | :12:57. | :13:02. | |
am confused. Sometimes I hate it so much a have to sit down and go to | :13:02. | :13:07. | |
sleep, it is too much noise going on. Alex was also a witness to the | :13:07. | :13:11. | |
circus of horrors that was the peacekeeping mission in the Balkans. | :13:11. | :13:15. | |
It was there, while still in the army, that his condition began to | :13:15. | :13:25. | |
:13:25. | :13:28. | ||
surface. We would do what ever we But then I could not see the point | :13:28. | :13:33. | |
of it. We were there for a long time. We did loads of jobs, one | :13:33. | :13:39. | |
bloke got his head blown off, the engineers were out there shovelling | :13:39. | :13:44. | |
up bodies. I was in turmoil, remember going to sit outside in | :13:44. | :13:51. | |
the middle of a mortar attack, thinking they were going to blow my | :13:51. | :13:58. | |
head off. I was just fed up. If you knew what it would be like after, | :13:58. | :14:06. | |
would you have still joined the army? I suppose so. Why do you say | :14:06. | :14:12. | |
that? We all do our bit. I would have liked to have stayed in but I | :14:12. | :14:21. | |
just could not stand it any longer, the utter chaos. All the military | :14:21. | :14:24. | |
hospitals in the UK have been closed. Now veterans to come | :14:24. | :14:28. | |
forward for help are treated within the NHS, or by charities. Outside | :14:28. | :14:35. | |
the NHS, Combat Stress is the biggest provider of support. This | :14:35. | :14:39. | |
is their Surrey headquarters where veterans come and stay for two week | :14:39. | :14:45. | |
stints of treatment. It feels very militaristic, the flags are up, it | :14:45. | :14:49. | |
is spick and span, a lot of order. But there is something going on in | :14:49. | :14:52. | |
here which you would not really expect people who have served in | :14:52. | :15:02. | |
:15:02. | :15:09. | ||
This is art therapy. Used here alongside the more mainstream | :15:09. | :15:13. | |
psychiatric and psychological treatments and medication. | :15:13. | :15:19. | |
They employ the country's only art therapist dedicated to working with | :15:19. | :15:23. | |
veterans. They have got loads of symptoms, | :15:23. | :15:26. | |
they might have been trying to ignore for years. When they come | :15:26. | :15:30. | |
here, they are looking for answers. They are looking for for things | :15:30. | :15:37. | |
that are going to help and they're willing to try. It is not like a | :15:37. | :15:39. | |
lesson, you don't need to be good at art. | :15:39. | :15:43. | |
This is a recognised branch of psychotherapy which uses the art to | :15:43. | :15:49. | |
bring out a flow of images which afterwards, can then be decoded and | :15:49. | :15:57. | |
doing so, helping the brain to reprocess the traumatic memories.. | :15:57. | :16:03. | |
I pick up the art materials and it is as though the drawing starts | :16:03. | :16:10. | |
making itself. It is not really me controlling the process. If I'm | :16:10. | :16:19. | |
trying to draw properly gets in the way. It is surprising what it it | :16:19. | :16:25. | |
actually brings out. It is amazing what's actually in there that you | :16:25. | :16:35. | |
don't bloody realise. It is disorder information storing | :16:35. | :16:38. | |
and retrieval that the memories aren't stored as normal memories so | :16:39. | :16:42. | |
being able to express them, a little bit at a time symbolically | :16:42. | :16:47. | |
and to give them sense and meaning through art therapy can help them | :16:47. | :16:57. | |
:16:57. | :16:59. | ||
to process it. To put it into words. Although some of the art created in | :16:59. | :17:02. | |
therapy can seem primitive and deliberately so, whilst they are | :17:02. | :17:06. | |
here, there is time and space for veterans to enjoy making more | :17:06. | :17:14. | |
poppished pieces which are on display everywhere. | :17:14. | :17:17. | |
-- polished pieces which are on display everywhere. | :17:17. | :17:21. | |
It is good stuff, frank. Well, thanks. That's only the | :17:21. | :17:27. | |
second painting I've ever done. You get some of the visitors coming | :17:27. | :17:34. | |
round and saying, "I like that. I like the effect." Yeah, you get the | :17:34. | :17:40. | |
shug -- shrug of the shoulders that somebody appreciates. It is It is | :17:40. | :17:46. | |
nice to hear work work about your work. | :17:46. | :17:51. | |
It wakes up a new sense in you if you like. | :17:51. | :17:57. | |
I went to Combat Stress for five years, I can't draw. I couldn't | :17:58. | :18:05. | |
paint. I thought, "That's sissy stuff." One day I decided I'll give | :18:05. | :18:10. | |
it a go. I get a lot out of it. It is camming. I can -- calming. I can | :18:10. | :18:14. | |
put things on paper that I couldn't actually say. I couldn't explain it, | :18:14. | :18:24. | |
:18:24. | :18:31. | ||
but I can put it on to paper so it It is called The Demise of Cornwall. | :18:31. | :18:37. | |
When I came out of the Forces, it was about what I saw in Cornwall, | :18:37. | :18:40. | |
the mining and the fishing it pretty much dried up and the | :18:40. | :18:45. | |
poppies which I put in, it is a little bit of a dig for me because | :18:45. | :18:52. | |
most of the help that goes into the veterans is charity. | :18:52. | :18:57. | |
It feels like there is a real camaraderie? There is a real | :18:57. | :19:00. | |
camaraderie and lots of people who have got the same sort of thing | :19:00. | :19:04. | |
wrong with them and they just get together and help each other and | :19:04. | :19:14. | |
:19:14. | :19:20. | ||
Did this start off from one of the therapy sessions? Yeah, normally it | :19:20. | :19:24. | |
is weird actually, but when you turn up here, you have got no | :19:24. | :19:27. | |
expectations of what is going to go on, but something might happen | :19:27. | :19:32. | |
during the day and it triggers off an episode in the night. Most of my | :19:32. | :19:36. | |
stuff comes from what happens when I sleep. Another piece I have done | :19:36. | :19:41. | |
is a from a dream which I had on Saturday which is a hanging tree. | :19:41. | :19:46. | |
High hung myself in my -- I had hung myself in my dream and I | :19:46. | :19:50. | |
couldn't get that out of my head until I put that image down as a | :19:50. | :19:53. | |
model. It is like taking some of the | :19:53. | :19:56. | |
poison out of the emotions that drive you? Yeah, I finished the | :19:56. | :20:04. | |
dream off. I drew a line under it and that was it, gone. | :20:04. | :20:12. | |
Steve Woods joined the army in 1979, but left after developing PTSD. His | :20:12. | :20:15. | |
went undiagnosed for 17 years. Why did you join the Army in the | :20:16. | :20:20. | |
first place? Truthfully, to get away from home. | :20:20. | :20:24. | |
I don't want to go into too much detail, but I had a very abusive | :20:24. | :20:31. | |
childhood. How old were you when you joined? 16. 16. | :20:31. | :20:38. | |
When I joined, "Are you sure you want to join the Light Infantry." | :20:38. | :20:42. | |
The military was my family. When actual in fact, it caused me a lot | :20:42. | :20:49. | |
of damage, you know. I'm getting help and the art is pushing me in | :20:49. | :20:55. | |
the right direction. I'm really thankful for that. | :20:55. | :20:59. | |
How would the art and the therapy lift you from that? It was the | :20:59. | :21:02. | |
flashbacks and the thoughts that put me into that state. When I'm | :21:02. | :21:07. | |
painting, I get lost in it and thoughts don't come in. | :21:08. | :21:12. | |
In terms of the things which have helped you, you have been diagnosed | :21:12. | :21:19. | |
and going on medication... Yeah. How significant is the art therapy? | :21:19. | :21:24. | |
I think without it, there has been points in the last three years | :21:24. | :21:30. | |
where I just wanted to go - well, do away with myself. I think | :21:30. | :21:39. | |
without the art and the support of my wife and people like Jan, I | :21:39. | :21:44. | |
wouldn't be here. It has been fundamental. It really has. | :21:44. | :21:49. | |
Are you really saying without the art therapy, you might not be here? | :21:49. | :21:59. | |
:21:59. | :22:04. | ||
It might not be mainstream, but art therapy has a rich tradition rooted | :22:04. | :22:14. | |
:22:14. | :22:16. | ||
in familiar territory. I've come to the Impeer War mew -- Imperial War | :22:16. | :22:25. | |
Museum to see the work of a painter whose work makes him fundamental to | :22:25. | :22:32. | |
the story of art therapy. This is some of the art of the | :22:32. | :22:37. | |
artist Adrian Hill, a man with a remarkable story who is seen as the | :22:37. | :22:44. | |
godfather of art therapy, aged just 22 in 1917, he was sent by the | :22:44. | :22:47. | |
Imperial War Museum out to capture what life was like in the First | :22:47. | :22:51. | |
World War and these are some of the extraordinary, powerful, evocative | :22:51. | :22:57. | |
pieces that he brought back from the Western Front. What really | :22:57. | :23:03. | |
makes Adrian Hill relevant for us is that in 1938, he contracted | :23:03. | :23:10. | |
tuberculosis and was sen to the san -- sent to the sanatorium and he | :23:10. | :23:14. | |
screchd and -- sketched and drew and in 1939 some soldiers who were | :23:14. | :23:22. | |
the first casualties where brought there and he extended his use of | :23:22. | :23:26. | |
art to them to lift their spirits. He had a revelation that he could | :23:26. | :23:31. | |
help those soldiers who had trauma related to war. What is really | :23:31. | :23:34. | |
fascinate something that art therapy, since its birth, has been | :23:34. | :23:40. | |
entwined with conflict and all of these years later we have different | :23:40. | :23:45. | |
soldiers, different conflicts, but the pioneering approach of Adrian | :23:45. | :23:52. | |
Hill is given respite to those suffering from their service. | :23:52. | :23:56. | |
More evidence of the potential therapeutic power of art comes from | :23:56. | :24:06. | |
:24:06. | :24:08. | ||
the fringes of the Artic Circle. We've come to Northern Finland to a | :24:08. | :24:14. | |
small place right up against the Swedish border to meet a guy who | :24:14. | :24:20. | |
has been on an amazing journey. His life has been transformed by art | :24:20. | :24:28. | |
since he left the SAS. Steve Pratt joined the Army as a | :24:28. | :24:32. | |
boy soldier at the age of 14, he stayed for 17 years and fought in | :24:32. | :24:38. | |
conflict zones all over the world. Hi, Steve. | :24:38. | :24:43. | |
Thanks for coming. He was decorated for his service in | :24:43. | :24:49. | |
the SAS, but left in 1981 when he began to develop the symptoms of | :24:49. | :24:54. | |
PTSD. He moved to Finland seeking | :24:54. | :25:01. | |
solitude and distance from his past. Steve has reinvented himself as an | :25:01. | :25:05. | |
acclaimed practising artist who has comibt -- exhibited across Europe. | :25:05. | :25:11. | |
This is the main room then? Yeah, we start over here really. This is | :25:11. | :25:17. | |
his latest exhibition. His work seems to draw heavily from | :25:17. | :25:26. | |
his military background. This really shows the size of the | :25:26. | :25:29. | |
problem in my head. If you look at the size of this painting and the | :25:29. | :25:34. | |
figures in this painting, what's going on in this painting was in my | :25:34. | :25:39. | |
head and it really frightens me. It is the actual canvas that you | :25:40. | :25:45. | |
use, goes through a violent process? Yeah. So that is being | :25:45. | :25:51. | |
chainsawed? That's because I have been to pieces and I was really mad. | :25:51. | :25:55. | |
If you are full of rage and hate, you can express those things, but | :25:55. | :26:00. | |
when you express them on a canvas, they become an expression in | :26:00. | :26:04. | |
painting so you are actually, they change and then you can see them | :26:04. | :26:08. | |
for what they are and then you can be, you know, separated from that. | :26:08. | :26:18. | |
:26:18. | :26:25. | ||
I started working in Northern Ireland, you know, in an | :26:25. | :26:29. | |
intelligence gathering role. It was a very different kind of war war to | :26:29. | :26:33. | |
what they have now, it wasn't lots of bombs flying around. It was a | :26:33. | :26:39. | |
lot of anxiety, a lot of fear, a lot of uncertainty. One of my | :26:39. | :26:46. | |
colleagues was abducted, tortured, killed, body never found and I was, | :26:46. | :26:52. | |
you know, going out then to talk to people who might know about this | :26:52. | :26:58. | |
and that was a bit of a problem well, quite a big problem for me. | :26:58. | :27:06. | |
That's where I started to feel the weight of the job I was doing, you | :27:06. | :27:11. | |
know. Then it was just like something snapped inside me and I | :27:11. | :27:18. | |
thought, "I can't do this anymore." When I left my military service, I | :27:18. | :27:24. | |
was told at my final medical that, "I will give you a year before you | :27:24. | :27:30. | |
kill yourself.". How irresponsible can you get? | :27:30. | :27:37. | |
To say that to somebody in distress? That sentence rang in my | :27:37. | :27:42. | |
ears for the next 19 years. After leaving the Army, Steve suffered | :27:42. | :27:48. | |
from severe depression. He was prescribed medication, but it was | :27:48. | :27:53. | |
after starting a fine art degree, he found the feelings start to | :27:53. | :27:57. | |
dissipate. Art enabled me to move on and to | :27:57. | :28:01. | |
continue continue move on. It has been the only way I could achieve | :28:01. | :28:06. | |
closure. I wouldn't have been able to achieve it by thinking about it | :28:06. | :28:12. | |
because by thinking about it, you just spin around the problem. Art | :28:12. | :28:17. | |
enables unconscious activity to come out on to a canvas and then to | :28:17. | :28:26. | |
look back and say, "That's how it was." Not, "That is is how it is | :28:26. | :28:29. | |
now. "I feel I am in a better place now | :28:29. | :28:32. | |
and in a place where I can possibly help others. | :28:32. | :28:37. | |
Convinced that creativity helped him deal with past traumas, Steve | :28:37. | :28:42. | |
made a decision. He is coming back to the country he once served, but | :28:42. | :28:46. | |
fled from. I have enrolled at Goldsmith's | :28:46. | :28:51. | |
doing the MA art scibg owe therapy so you can -- psychotherapy so you | :28:51. | :28:54. | |
can work with people using psychotherapy. I see that as a | :28:54. | :28:58. | |
purpose in my life. I have got to use this to enable other people to | :28:59. | :29:08. | |
:29:09. | :29:11. | ||
see the journey and help them move Art therapy has been around for | :29:11. | :29:15. | |
decades and therapists report impressive anecdotal evidence. | :29:15. | :29:20. | |
Something seems to be going on, but there is little little scientific | :29:20. | :29:24. | |
research into what is going on in the brain. I have come to Chicago | :29:24. | :29:28. | |
to meet one of the few guys in the world who can shed light on what | :29:28. | :29:33. | |
the potential potential neurological impact might be. | :29:33. | :29:36. | |
As Director of Clinical neuroscience at one of America's | :29:36. | :29:41. | |
largest ved large veterans hospitals, Dr Lukasz Konopka worked | :29:41. | :29:48. | |
with Vietnam vets suffering with PTSD. He is one of the few nure | :29:48. | :29:54. | |
roll gists who have -- nure roll gists to have done research into | :29:54. | :30:04. | |
:30:04. | :30:07. | ||
art therapy and its impact on the Kenny Show or happens when somebody | :30:07. | :30:14. | |
suffers trauma? This structure is important, it is involved in memory | :30:14. | :30:19. | |
consultation. If there is chronic stress the volume of this | :30:19. | :30:22. | |
hippocampus increases, this is what you would expect to see in somebody | :30:22. | :30:29. | |
suffering from PTSD. With the decrease in hippocampus, one's | :30:29. | :30:36. | |
function is decreased because it is involved in memories. What role | :30:36. | :30:42. | |
does art therapy have been somebody -- in treating somebody with PTSD? | :30:42. | :30:47. | |
It is essential because it taps into the very primitive networks of | :30:47. | :30:56. | |
the brain. Brain function changed through art therapy could be long- | :30:56. | :31:01. | |
lasting, so by being able to alter brain function we can establish new | :31:01. | :31:07. | |
pathways, and buy it doing that you allow the patient to begin to live | :31:07. | :31:11. | |
a different life. Are you saying prolonged use of art therapy can | :31:11. | :31:16. | |
actually result in the brain being rewired? I am absolutely convinced | :31:16. | :31:26. | |
:31:26. | :31:27. | ||
It was remarkable to hear what Lukasz Konopka had to say, art | :31:27. | :31:32. | |
therapy is not just about painting, for him, it is an integral part of | :31:32. | :31:35. | |
the healing process for people who really need all the help they can | :31:35. | :31:42. | |
get. Whatever is happening on a new a logical level, the art does seem | :31:42. | :31:46. | |
to unleash brawl and private memories. Memories which the | :31:46. | :31:50. | |
veterans are willing to share with each other, and for the first ever | :31:50. | :31:55. | |
time for a therapy session, with the camera. The first part today, I | :31:55. | :32:01. | |
was going to suggest the theme of the invisible wound. Then, after | :32:01. | :32:05. | |
one hour, we will gather together and come back into this space to | :32:05. | :32:15. | |
:32:15. | :32:25. | ||
Invisible wounds. The analogy is wandering down the road in the dark | :32:25. | :32:32. | |
at night, a red light hit me, hit the wall, I see a shadow on the | :32:32. | :32:39. | |
wall. I see the shadow of what I was when I was a soldier, and we | :32:39. | :32:45. | |
have a swift connection, that is those two red lines. It is me | :32:45. | :32:49. | |
saying what is the matter, you don't feel well? The other one says | :32:49. | :32:56. | |
I wish I could have the confidence and the ability you had then. I am | :32:56. | :33:03. | |
a shadow of myself, I hide in the shadows of my home. I wish I did | :33:03. | :33:12. | |
not have these invisible wounds, I could be like him. I used to look | :33:12. | :33:22. | |
:33:22. | :33:25. | ||
after these guys, and now they look Does that strike a chord with | :33:25. | :33:35. | |
:33:35. | :33:36. | ||
others? Yes. Thank you. Through the imagery they give me a sense of | :33:36. | :33:39. | |
what it might be like but I do not think anybody could understand | :33:39. | :33:44. | |
unless they had been there, that is why they so respect being together | :33:44. | :33:50. | |
because they know the other person understands. It was very much when | :33:50. | :33:56. | |
one and it said about -- Jan said about a won't, I felt a tightening | :33:56. | :34:04. | |
in my chest and I felt straps being pulled tightly, sort of a pain, and | :34:04. | :34:08. | |
you do not know what you want to tear the straps of, or hold on to | :34:08. | :34:15. | |
it. Whether to hold on to it and keeping deep inside, because it is | :34:15. | :34:21. | |
yours, you do not want anybody else to know. You want to rip it off but | :34:21. | :34:30. | |
it is protected. You're not getting out. I had two it failed marriages, | :34:30. | :34:37. | |
endless failed relationships and it was getting worse and worse. In the | :34:37. | :34:47. | |
:34:47. | :34:47. | ||
end, I was at a stage where I tried to commit suicide. All those people | :34:47. | :34:54. | |
that see are so big ex soldiers and think look at that fat man! Wasting | :34:54. | :34:59. | |
away on a pension. He is not wasting away, he is fighting like | :34:59. | :35:09. | |
:35:09. | :35:14. | ||
It is not a mainstream form of therapy, certainly at the moment, | :35:14. | :35:18. | |
and I guess some would be sceptical, but you do not look like the sort | :35:18. | :35:24. | |
of bunch of people that are easily taken for a ride. You were | :35:24. | :35:28. | |
definitively say there is something in this? At silly. You guess. It do | :35:28. | :35:32. | |
you feel it almost connects to a part of the brain that other | :35:32. | :35:39. | |
therapies do not touch? Absolutely. You're all nodding. This is a | :35:39. | :35:44. | |
primary one, it gets things... is the one that opens the doors. | :35:44. | :35:49. | |
You yes, very quickly. It pulls things out so fast and deep that | :35:49. | :35:55. | |
I'd think it is the most powerful therapy I have tried. Having seen a | :35:55. | :36:02. | |
session I am blown away by how powerful it can be as an instrument | :36:02. | :36:12. | |
:36:12. | :36:12. | ||
to unlock some pretty deep, hidden emotions. I was struck by how much | :36:12. | :36:16. | |
people's lives are still so impacted by conflicts which have | :36:16. | :36:20. | |
happened in some cases decades ago, and they are still carrying of -- | :36:20. | :36:30. | |
:36:30. | :36:37. | ||
carrying that suffering around. It Combat stress has seen its caseload | :36:37. | :36:44. | |
got 70 per cent in the past five years, and now helps 4500 veterans | :36:44. | :36:49. | |
a year, but there is a big waiting list. One thing which has come to | :36:49. | :36:54. | |
light whilst filming is the defence review which will see troops over | :36:54. | :36:58. | |
the next decade demobilised, many of whom will have seen a frontline | :36:58. | :37:03. | |
action in Iraq, Afghanistan, and will have been exposed to trauma. | :37:03. | :37:06. | |
With combats stress already creaking under the strain of | :37:06. | :37:09. | |
waiting lists, I just wonder whether we will be able to provide | :37:09. | :37:15. | |
the level of help and support that many of these people need. Some | :37:15. | :37:21. | |
people close to the Armed Forces are naturally concerned about this. | :37:21. | :37:25. | |
As a result of the Post 9/11 walls, there is a huge consequence, people | :37:25. | :37:32. | |
have had limbs blown off, blinded, people with brain injuries, but by | :37:32. | :37:38. | |
far the biggest problem we will have is the tidal wave of those | :37:38. | :37:42. | |
with mental scars, unseen scars, which will increasingly manifest | :37:42. | :37:46. | |
themselves. We have to be sympathetic and help those people | :37:46. | :37:53. | |
deal with them because we owe them that. In terms of who is out in | :37:53. | :37:56. | |
Afghanistan now, we have a nursing team of three out there looking | :37:56. | :38:05. | |
after a population of up to 10,000 people. Is that enough? Yes, it is. | :38:05. | :38:11. | |
Not everybody who sees a traumatic event is going to get ill. So the | :38:11. | :38:17. | |
main burden of mental health problems arising from Operations is | :38:17. | :38:22. | |
going to be after the operation. With the cuts coming, thousands | :38:22. | :38:27. | |
will leave the forces, will that make it harder to try to look after | :38:27. | :38:32. | |
their psychological well-being? is likely to be limited to those | :38:32. | :38:39. | |
who have been in combat. And we know how to follow people up. And | :38:39. | :38:46. | |
routine medicals members of the Armed Forces undergo now contain | :38:46. | :38:50. | |
Ayres -- contains assessment of mental health, that is important at | :38:50. | :38:54. | |
discharge where we are trying to pick people up. There is such a | :38:54. | :38:58. | |
human consequence when troops are committed, there is such a | :38:58. | :39:02. | |
responsibility for them, their families and the repercussions be | :39:02. | :39:06. | |
on that. I have long campaigned on mental health issues and we must | :39:06. | :39:12. | |
recognise that while we treat the visible injuries off a wall, -- | :39:12. | :39:16. | |
injuries from war, I think the invisible wounds are less well | :39:16. | :39:24. | |
treated. It would be great to find money for servicemen and women but | :39:24. | :39:27. | |
defence is not a vote-winner and because we live in a democracy | :39:27. | :39:33. | |
politicians focus on the things that will win them popular support. | :39:33. | :39:36. | |
Looking after servicemen and women is not one of them. The direct | :39:36. | :39:42. | |
funding would be helpful. More direct funding. It would be nice to | :39:42. | :39:46. | |
have an automatic service for veterans that does not rely on | :39:46. | :39:56. | |
:39:56. | :39:59. | ||
Unlike Britain, the US has hospitals across the country | :39:59. | :40:03. | |
dedicated to treating veterans. This is the main one in the centre | :40:03. | :40:09. | |
of Chicago. These veterans are using art therapy in much the same | :40:09. | :40:15. | |
way our men do back home. Years and years I did not know what was wrong. | :40:15. | :40:22. | |
I thought I was just crazy. uncontrollable rage, nightmares, I | :40:22. | :40:31. | |
did not know what it was. RC Hardy has been using art therapy for four | :40:31. | :40:36. | |
Muntz, he is an ex-Marine and Vietnam veteran with PTSD. There | :40:36. | :40:43. | |
are nights I do not sleep at all. Sometimes I get frightened, I Wyke | :40:43. | :40:48. | |
-- I wake up frightened for no reason. His art work expresses | :40:48. | :40:51. | |
emotions and experiences which seemed timeless and universal too | :40:51. | :41:01. | |
many a veteran of conflict. This indicates what goes on with a young | :41:01. | :41:06. | |
person who goes to war, or combat, and you see people with skin blown | :41:06. | :41:15. | |
away, their face off, you know. Cut one time I dug up dead bodies in | :41:15. | :41:22. | |
Vietnam. -- at one time. This bothers him, he dreams of it, it is | :41:22. | :41:29. | |
in his mind forever. Inside the mask you can see... Drugs, | :41:29. | :41:36. | |
cigarettes... Drugs, dope, everything that is in there, | :41:36. | :41:41. | |
everything they used to hide behind if they're not taking medication. | :41:41. | :41:45. | |
How much of a fight with you put up if I said I was going to take away | :41:45. | :41:50. | |
your brushes and you cannot paint? I can't paint no more? I would put | :41:50. | :41:56. | |
up a big fight. You were telling me I can't express myself. I express | :41:56. | :42:00. | |
myself through my art. You telling me I can't express myself? It is | :42:00. | :42:05. | |
like taking away my freedom of speech. What if you can't talk any | :42:05. | :42:15. | |
:42:15. | :42:15. | ||
more? I would try to fight to! -- you. It was the terrible human | :42:15. | :42:19. | |
fall-out from America's time in Vietnam which led to PTSD being | :42:19. | :42:24. | |
diagnosed. It also fuelled a new symbiosis between art and the | :42:24. | :42:29. | |
experience of war, creating something quite special. In | :42:29. | :42:32. | |
downtown Chicago there is a building I have heard about for | :42:32. | :42:42. | |
:42:42. | :42:55. | ||
ages at which I just have to go and This is the National Veterans Art | :42:55. | :42:59. | |
Museum in Chicago, originally founded by some Vietnam veterans. | :42:59. | :43:03. | |
What makes this place unique is that every piece here has been | :43:03. | :43:08. | |
created by somebody who has witnessed war. Although established | :43:08. | :43:14. | |
my Vietnam veterans, the museum now includes works reflecting a more | :43:14. | :43:19. | |
recent American conflict. This piece is called Sand Angel, it was | :43:19. | :43:28. | |
made by an American serviceman who was out Iraq in the first Gulf war. | :43:28. | :43:32. | |
He came across an injured Iraqi serviceman who was dying and his | :43:32. | :43:37. | |
arms were flailing out. What makes this piece so haunting is that it | :43:37. | :43:42. | |
is not a piece of make believe, you know that the artist was a soldier | :43:42. | :43:45. | |
who had this image a running through his head for years, from | :43:45. | :43:50. | |
something he had actually seen, which he felt compelled to get out. | :43:50. | :43:59. | |
This is the result. One of the founders of the museum is the a | :43:59. | :44:02. | |
numb veteran Joe Fornelli, he was a crew chief on a Huey helicopter, | :44:02. | :44:08. | |
one of the most dangerous jobs in the war. In the field he felt | :44:08. | :44:12. | |
compelled to capture the chaos around him using whatever he could | :44:12. | :44:18. | |
lay his hands on. He created this delicate image using split bamboo | :44:18. | :44:22. | |
and dried coffee. Maybe subconsciously I was making notes | :44:23. | :44:29. | |
because I did want people to know what I witnessed. I did it with my | :44:29. | :44:35. | |
hard work. What role do you think art can have been helping somebody | :44:35. | :44:45. | |
:44:45. | :44:47. | ||
who has been in conflict to heal It opens up things that are closed | :44:47. | :44:53. | |
and should not be closed off inside these individuals. There are the | :44:53. | :45:00. | |
people like them. That helps. -- other people. Another artist on | :45:00. | :45:06. | |
display is Bill Crist. A fellow Vietnam veteran. I love this museum. | :45:06. | :45:16. | |
:45:16. | :45:16. | ||
I know I am not alone. I used to think I was the lone ranger out | :45:16. | :45:22. | |
there. I couldn't talk about anything, you know. Bill was con | :45:22. | :45:28. | |
conscripted into the infantry and developed severe PTST after the | :45:28. | :45:31. | |
conflict. You come home and everything is | :45:31. | :45:34. | |
going to be fine, it is not that way. | :45:34. | :45:41. | |
It is not that way at all. His works were created using art | :45:41. | :45:46. | |
therapy during time spent in a psychiatric ward. They depict the | :45:46. | :45:53. | |
memories which still haunt him. was unconscious, that's how | :45:54. | :45:59. | |
powerful that explosion was. I told the people in charge, I will draw | :45:59. | :46:02. | |
these because a picture is worth 1,000 words and I won't have to | :46:02. | :46:09. | |
talk about it anymore. Wrong. The more I drew, the more I talked. | :46:09. | :46:19. | |
Avr got out the the -- after I I out of the infantry, I became a | :46:19. | :46:24. | |
medic. The tail rot ar was going full speed and it went into his | :46:24. | :46:31. | |
head and ripped the top of his head off. His brains were all over the | :46:31. | :46:37. | |
ground. I am ashamed to say I was crying and throwing up at the same | :46:37. | :46:41. | |
time. That was an extremely traumatic experience for me. Very | :46:41. | :46:49. | |
traumatic. The art is where the power is and | :46:49. | :46:56. | |
the art is what created the museum. Is it worth more than life? I think | :46:56. | :47:02. | |
what we all want, the survivors want, we all want to make sure that | :47:02. | :47:12. | |
:47:12. | :47:14. | ||
the ones that didn't make it... Are always remembered. | :47:14. | :47:17. | |
One of the most striking exhibits here, perhaps the centrepiece of | :47:17. | :47:23. | |
the whole museum, is this. It is a monument to every American soldier | :47:23. | :47:32. | |
who died in Vietnam and it is a replica of of every single soldier | :47:32. | :47:36. | |
who died starting in that corner in 1957 and working its way in | :47:36. | :47:42. | |
chronological order to that way corner to 1975. | :47:42. | :47:51. | |
On each dog tag, the name of a service person who died in Vietnam, | :47:51. | :47:55. | |
over 58,000. An incredible amount of effort has gone into making this. | :47:55. | :47:59. | |
It has taken two years to individually punch each dog tag. | :47:59. | :48:04. | |
What is truly extraordinary is what each one represents. | :48:04. | :48:10. | |
I just thought of something - that memorial was never really a part of | :48:10. | :48:16. | |
this exhibit or design in the beginning, but they are the ones | :48:16. | :48:25. | |
that didn't make it. I just thought of it now. | :48:25. | :48:35. | |
:48:35. | :48:43. | ||
It is incredibly powerful. Yeah. Yeah. We all know somebody on that. | :48:43. | :48:49. | |
Looking around at this stuff, on the one hand, I am in awe of it and | :48:49. | :48:55. | |
on the other han other hand I am jealous, thinking we should have | :48:55. | :49:04. | |
something like this in the UK. You know, what, it is natural. If | :49:04. | :49:09. | |
somebody planted the seed and nurtured in. It is natural that | :49:09. | :49:12. | |
this should happen to me. It does seem natural and such a | :49:13. | :49:17. | |
positive and public way to channel experiences which most of us would | :49:17. | :49:21. | |
find unimaginable. Surely our guys back home deserve a similar | :49:21. | :49:31. | |
:49:31. | :49:34. | ||
platform. A public exhibition might be a good start. But would our | :49:34. | :49:37. | |
veterans be up for an exhibition? Something which could bring their | :49:37. | :49:42. | |
stories to a wider public and encourage other ex-soldiers not to | :49:42. | :49:47. | |
suffer in silence and what form should it take? We have we have got | :49:47. | :49:52. | |
this idea that it would be great to push this on to a wider stage and | :49:52. | :49:56. | |
have an exhibition or something to bring it to the wider public. | :49:56. | :50:00. | |
It is important to get that message across to the decision makers that | :50:00. | :50:04. | |
send us to war. I am at the stage now where I would | :50:04. | :50:07. | |
like to push it forward. To let other people see what I'm doing. | :50:07. | :50:13. | |
It would be interesting to compare some of the work we've done. | :50:13. | :50:17. | |
A mixture of the art and art therapy and create a balance so | :50:17. | :50:27. | |
:50:27. | :50:27. | ||
Apology for the loss of subtitles for 64 seconds | :50:27. | :51:32. | |
Steve Pratt has been measuring up the gallery. He has met with bomber | :51:32. | :51:39. | |
macro at Combat Stress to select some work to display. -- Jan. | :51:39. | :51:46. | |
Speech bubbles. What is going on? Our guys have been hard at it. | :51:46. | :51:50. | |
glad I achieved it but I do not think I will do this again in a | :51:50. | :51:56. | |
hurry. It takes you to a dark place where you do not want to go. I have | :51:56. | :52:01. | |
not done anything at home for a long time. It was nice to get back | :52:01. | :52:11. | |
into something. It was a painful exercise to work this are but very | :52:11. | :52:19. | |
valuable. I feel it is really helping me. Sometimes I cry when I | :52:19. | :52:25. | |
am doing it, having a good paint. Some weird stuff comes out but it | :52:25. | :52:32. | |
is all good. It is all hell for. Hopefully we can get more people | :52:32. | :52:37. | |
who can understand because they will be a lot of lads coming back | :52:37. | :52:47. | |
:52:47. | :52:49. | ||
he will need help. Hell of a lot of them. Steve Pratt is also creating | :52:49. | :52:53. | |
a challenging new work which incorporates past memories. He is | :52:53. | :53:00. | |
using some interesting techniques. A star from the point of view of a | :53:00. | :53:10. | |
:53:10. | :53:10. | ||
traumatic destruction -- I start. Then some kind of rebuilding. That | :53:11. | :53:20. | |
:53:21. | :53:36. | ||
destruction is also we creation and . We decided to call the exhibition | :53:36. | :53:45. | |
Invisible Wounds. The work on display features art made join | :53:45. | :53:54. | |
therapy sessions, specially created pieces by our guys. | :53:54. | :54:04. | |
Artwork that we brought back from America. And a series by Steve | :54:04. | :54:14. | |
:54:14. | :54:27. | ||
This is a hell of a piece of work. It looks really good with the light | :54:27. | :54:34. | |
What does the piece symbolise? That's how a lot of us feel a lot | :54:34. | :54:44. | |
:54:44. | :54:44. | ||
of the time. The distance, I wanted to bring in from us into reality | :54:44. | :54:49. | |
and and how we feel smaller than everyone else and insignificant. I | :54:49. | :54:55. | |
was a bit apprehensive about how it was going to turn out. It does look | :54:55. | :54:59. | |
good. Is that a smile from you? little bit, yeah. | :54:59. | :55:08. | |
I feel something has been achieved tonight. So if people look at this, | :55:08. | :55:13. | |
what do you want them to take away from it? If you are willing to | :55:13. | :55:18. | |
allow others to help you then even though it seems that there is no | :55:18. | :55:24. | |
future for you at the time, life can transform. | :55:24. | :55:32. | |
This is by a chap called Bones. is superb. The rest of the guys | :55:32. | :55:41. | |
have worked superb. You can be sur surrounded by millions of people, | :55:42. | :55:47. | |
but you can still be alone. That's what this painting is about. | :55:47. | :55:54. | |
It is every bit as valid an injury as a visible wound | :55:54. | :55:57. | |
It is a fine piece of work this. Thank you. | :55:57. | :56:02. | |
Are you proud of it? I feel I'm giving part of me away, if you know | :56:02. | :56:07. | |
what I mean. I'm giving part of my secret. This is what the people | :56:07. | :56:12. | |
don't see. This is a representation of the brain. I'm pleased to have | :56:12. | :56:21. | |
done it and I'm pleased it is here. There are exhibitions that contend | :56:21. | :56:28. | |
with so much meaning. It caught the imagination of everybody who has | :56:28. | :56:32. | |
been here. There has been artists here and people from the MoD here. | :56:32. | :56:38. | |
It as been awe inspiring. It has been a shock, but a really positive | :56:38. | :56:46. | |
coming together of people and works. This is a piece which has come out | :56:46. | :56:48. | |
of an art therapy session. That's right. | :56:48. | :56:54. | |
You have taken the content and turned it into a fine piece of work. | :56:54. | :56:57. | |
It has taken a long time to do this one. The more I looked at the | :56:58. | :57:02. | |
drawings and the more I looked at it as the painting was was | :57:02. | :57:08. | |
developing, it started to bring me down a bit. I finished the picture | :57:08. | :57:12. | |
and I'm happy with it. I'm only doing it because someone else might | :57:12. | :57:18. | |
get some help from it and think, "I tried art therapy.". Everyone, | :57:18. | :57:23. | |
thank you very much for coming. It is an excellent turnout. A | :57:23. | :57:26. | |
fantastic turnout. Thank you once again really to the guys who have | :57:26. | :57:31. | |
put this exhibition together. Incredible, powerful, emotional, | :57:31. | :57:38. | |
bloody good pieces of work which I hope you're proud of. | :57:38. | :57:43. | |
What's the overarching thing that you want somebody who has not | :57:43. | :57:49. | |
served and comes in and sees this? Just because they see see someone | :57:50. | :57:56. | |
and it looks hunky-dory, this is what is going on underneath their | :57:56. | :58:02. | |
skin. This is horrific. It brought Combat Stress into the public eye. | :58:02. | :58:05. | |
Job done. You have done yourselves proud. You | :58:05. | :58:09. | |
have done everyone proud and you have sent a strong, positive | :58:09. | :58:19. | |
:58:19. | :58:48. | ||
message. So if if we can give a I guess I found the veterans aren't | :58:48. | :58:50. | |
both shocking, but inspirational to know the individual journeys of | :58:50. | :58:53. | |
people who have all given so much for the country and hope that their | :58:53. | :58:55. | |
paintings means that some of the people coming back from Iraq and | :58:55. | :58:57. | |
Afghanistan don't go through five, ten, 15, 20 years before getting | :58:57. | :59:00. | |
help and go through what some of these guys have been through | :59:00. | :59:02. |