Contribution of the
drawing
Between the interview and the drawing, a 5-minute
break was scheduled to allow the child and the researcher to recharge their
batteries and rest. This non-compulsory break was designed to make the meeting
less exhausting for the child and for the researcher. Fidèle wanted to take
this break during which she remained in the living room, without going out. The
interview would have been exhausting for Fidèle. It is also possible that she
took this break to better prepare the drawing or to better think about the
family and the people to draw.
Parents'
investment: The
drawing was done very quickly. The various members of the nuclear family were
simultaneously drawn, by order, without correction or improvement; the father
(Joseph), the mother (Agnes), the first child of the siblings (Corine), the
participant (Fidèle), her younger brother (Michel), her younger heart
(Laéticia), the younger sister suffering from SCD (Angela ) and the youngest of
the siblings (Junior). The table, placed in the center of the sheet, on which
is placed a bouquet of flowers is the last element drawn. This order of
appearance in the drawing provides information on the affective investment in
relationships with parents. With this drawing, Fidèle highlights her parents,
the importance she gives to her subjective relationships with her father and
mother. The mother-in-law (Emilie) is absent from the drawing. It is a
monogamous family that she drew. This absence may reflect possible family
conflicts that Fidèle witnesses within this polygamous family. In fact, it is
known that SCD often rekindles conflicts between co-wives who reject
responsibility for the onset of the disease [16].
Expressing
anger at the sick sister: Fidèle
says she drew her family members in the living room talking about the results
of the school year. From his drawing, Fidèle designates her father (Joseph) as
the happiest person. He's actually happy because, she says, all the kids did
well in school. Fidèle's younger brother (Michel) is named by the latter as the
least happy person in the drawing, "because he does not express his
emotions". In a social context where it is forbidden to enter into
conflict with one's parents this complaint formulated against her brother can
be understood as a displacement on this sister of the complaint against parents
who do not express not their experience of the disease to the children and
which do not allow them to express theirs to them. Fidèle manifests by this
anger her desire to see
- Her parents talk about SCD to children and with
children;
- Her siblings talk about SCD among themselves;
- Her sick sister talk to her and talk to her other
siblings about her illness experience.
The mother is considered the nicest person because she
takes good care of everyone, unlike the child with SCD (Angela), who is
considered the least nice person in the picture because. She expresses, in this
way, her anger at her sick sister, whom she designates as responsible for the
suffering of the family. Fidèle therefore thinks of himself as a victim of her
sister's illness.
Identification
with the father
If Fidèle had been asked to take the place of one
person in the drawing, she would have taken that of her father (Joseph) because
he is the decision-making center of the family. Fidèle thus manifests her
identification with the father and reflects her desire to possess, like her
father, power within the family. By identifying with her father, it is possible
that Fidèle wishes to have the power necessary to reconfigure the family bonds
and to bring the parents, the mother, to no longer affectively isolate the
non-sick children and by allowing the members of the family to speak about SCD
and their experiences with this disease and the sick child.
The
presence of Angela and Fidèle in the drawing
The sick child is
present in the picture despite the fact that it is seen as strange in the
interview. This strange child should, in principle and in accordance with the
pleasure principle, be excluded from the mental universe of Fidèle because it
constitutes for her a kind of broken mirror which gives her a bad image of
herself [26]. The presence of Angela in this drawing can reflect the Fidèle
desire to understand what is happening to this strange sister and the intensity
of the psychic work in connection with this sister and with her illness. She is
in fact a sister who, despite her strangeness, is very present in Fidèle on a
psychic level. The drawing highlights the effort she makes to make this sister
less strange, efforts that come up against the taboo of the disease, the
refusal of parents to allow family talking about this disease. The presence of
Fidèle in the drawing reflects her feeling of belonging to her family. All the
characters are similar, with a more noticeable gender difference in the head;
females have hair unlike males. All these people are drawn in sticks and do not
touch each other. They are roughly similar people, apart from the difference in
sex perceptible by the absence or presence of hair as mentioned above. This
similarity of cartoon characters may reflect Fidèle's recognition of the
suffering of other family members who, like her, cannot tell others what they
are going through regarding Angela's illness. It can also refer to Fidèle to
the alteration of the identification / differentiation mechanism with her
siblings. It is possible that Fidèle translates this into her difficulty in
thinking of her siblings as likely to live decently with Angela’s disease. No
person in the drawing is in physical contact with others. This can mean the
feeling of emotional isolation that Fidèle experiences within her family and
her recognition from that experienced by other members of her family. This lack
of contact can therefore provide information for Fidèle on the lack of
composure of her family group regarding her experience with the sick sister and
her illness. However, we are in a cultural context where the expression of
affection and support does not always translate into physical contact such as
touching, kissing and hugging, among others. What makes this interpretation,
like the fraternal and family relations very complex in the sub-Saharan African
context? In addition, Fidèle is on the same line as her parents. This can
provide information on her identification with the parents and translate the
parenting process at play for her concerning the care of her sick sister,
located at the bottom of the drawing, with a gaze directed upwards, as if to
request the presence and help too as much from her parents as from Fidèle and
her other siblings.