Child Abuse: 'A Realist And Expressionist'
The Realist and Expressionist
By: Kenny Nguyen, Pooja Panda, Kathryn Drake, Jubin Saha, Casey Hernandez
Child abuse is a pressing social issue. It will be best addressed by leading short but powerful workshops in multiple prisons using the methods and exercises of Theatre of Oppression. The hope is to allow prisoners, both victims and perpetrators, of child abuse, begin to understand and handle feelings associated with child abuse.
Summary of Issue
Theater of the oppressed allows oneself to completely immerse themselves in a situation and find the inner root of the problem. This theater is focused mainly on allowing the development of the person who has suffered from an incident in this case child abuse, to recover …show more content…
by analyzing the reason, the ways and the motives of that case. Augusto Boal, the founder of this idea, figured that the only way to bring justice to a specific internal issue or an attack was through analysis of the cause of the problem and speaking to the other party. Without communication there is a gap that allows for manipulation in a negative way that could hurt the oppressed individual. The audience in this theater should be very interactive; the whole point is to bring awareness.
There are the actors and the spectators also known as the audience must allow their input of how they would handle or tackle the situation by simply viewing the play or a scene. When viewing the case of a child abuse situation, the oppressed has the mental state of injustice and is basically put into prison of self-concern and trauma at all times. This should bring about societal awareness and through allowing the audience to be cognoscente about the situation, awareness on the topic can be more prevalent. There are different opinions about whether child abuse is rising or falling based on how it is reported. Andrea K. Walker illustrates the case: throughout time, child abuse has been seen too “increase by 5% in the last 12 years while child protective service agencies show a 55% drop in physical abuse from 1997 to 2009” as conducted by Yale school of medicine. This just shows a gray area on how prevalent the issue is. There is no consistent depiction of how many are abused, it is in the people’s hands to control it and show their awareness and promote it. Runyon, Deblinger, Ryan, Thakkar-Kolar in the school of osteopathic medicine in the University of Medicine and Dentistry in New Jersey State that actual “integrated parental to child cognitive behavioral therapy” is the best remedy. It provides benefits to both the parents and the child; there is improvement in attitude, behavior, school and just self. Awareness of such methods can only be bought about through theater because actions and scenes allow for the audience to analyze deeper into the situation and converse with themselves as to how they would react in that situation.
Victims of child abuse tend to be “hostile, take situations very aggressively” (Dodge Pettite (p.68)). An individual won’t stop taking in all those qualities all of a sudden, rather it grows as any disease or infection would. Relationships, external actions/ approaches become more risky and illegal even. The victim essentially victimizes him or herself. Only 13% of the children that face this issue are reported and receive the full treatment, (Kolko Selelyo (p.70)). The idea of it being kept in secrecy adds on to the list of what needs to brought about to civilians in order for such problems don’t continue to happen at such a rate. Parents that decide to use the method of beating and other harmful mechanisms are not stable themselves, which allows for the finding of the root cause. They don’t have the full on teachings of how a child develops. When such actions are put on young and raw minds of children, they will be traumatized for life. The attack lingers on to them for the rest of their lives regardless of any situation. Some qualities are inherited from parents and even certain behaviors and as a child; he or she will use that to their knowledge. As the children grow, they will use the same tactics of “parenting” when they develop as caretakers. According to help guide, child abuse is dictated many ways; for example “emotionally, physically and child neglect.” Take in consideration of the area of the emotional aspect of child abuse. Not having a sense of care, or attention with “frequent yelling, threatening or bullying” as help guide describes it, a child is more likely to adapt into those traditions and allow themselves to be victimized. As a child, he or she has no control or rather leadership over anything, it is the parent’s job
to mold or develop the child. With the lack of nurture and care, as a human, there won’t be any room for development. The issue lies in the hands of the guardians and essentially the final caretakers of the victim. Using this idea on stage can allow people to step into scenes that may seem odd or even out of realm and give their opinion which would essentially alert individuals who do face issues like these in their daily lives.
Summary of Method
The nature of the issue of child abuse provides great opportunity for Applied Theatre, and specifically Theatre of the Oppressed, to induce positive change. Many scenarios of physical maltreatment can be represented and recognized visually. Furthermore, the often unseen violent acts of harm such as beating, kicking, biting, and burning can immediately pull viewers out of comfort and catharsis. The greatest potential of change is found in theatrically exploring the intersection of these physical traumas and their deep psychological implications.
Many victims of child abuse suffer from psychological handicaps and report feelings of helplessness, misunderstanding, and crisis in self-identity (Berkson). They sense danger in the societal systems in which they play a role and often are unable to develop lasting relationships. In many ways, because of their tumultuous child experience, they no longer feel control of their actions and their environment. Likewise, many perpetrators of child abuse reveal similar feelings of lack of control. As Milner points out in his clinical research, the compulsion to inflict harm in these cases stem from external factors or mental issues that manipulate actions (553). There is no better way to begin to analyze and overcome these feelings, motivations, desires and fears than by going straight to the heart of the issue: using techniques of Theatre of the Oppressed with victims and perpetrators of child abuse in the prison system.
Theatre of the Oppressed, developed in 1979 by Andrew Boal, is a method of activating an audience to allow for exploration, analysis, and transformation of the reality in which they are living. Boal’s theater practice essentially breaks down the fourth wall barrier between spectator and actor to demand conscious reflection. Influenced by educator Paolo Freire and his book Pedagogy of the Oppressed and great social and political turmoil in Brazil, Boal first used this form of theatre to explore overt political oppression. During the 1980s, he shifted his practice to manifestations of psychological oppression. His work centered on identifying oppressions by capitalism, materialism and individualism, but the concept is adaptable to any form of mental pressure or coercion (Prendergast).
The Forum Theatre technique, one of several strategies used in Theatre of the Oppressed, provides a space for discussion and reflection as well as a “rehearsal for real action toward change.” In Applied Theatre: International Case Studies and Challenges for Practice, Prendergast explains how this exercise presents the play twice, the first time straight through, and the second free to be manipulated by the spectators (70). Scenes can be repeated, plots changed, alternative solutions discovered, and actor’s roles replaced. Most essential to this process is the Joker who facilitates the interactions of the professional improvisers and the audience. The Joker is responsible for identifying the desires of spectators and actors, manipulating the scenes of performance, and iterating important discoveries for all participants.
This role will require a highly skilled facilitator in the prison setting. Although there are many examples of work in prison related contexts, the danger of misunderstands and ethical differences remain. Theatre has been used to commentate on prison life, educate prisoners, provide for community healing in internment camps, and engage prisoners in dialogues about freedom, self-respect, and self-identity (Balfour). There is the power for profound change in taking a group of victims and perpetrators of child abuse who have already been incarcerated and giving them a forum to explore and wrestle with the innermost forces they feel they are not in control.
Plan of Action
The location of the play will be displayed at a jail, where we hand select based on information gather from the amount of prisoners that are in the prison for child abuse. We gather information from families that take play of the child abuse scene. The reason why we will be having the play there is because, we want to give the prisoners a chance to realize that they are all individuals with an opportunity for rehabilitation who recognizes and can change certain self-images, attitudes, beliefs and behaviors. As our social issue discusses about child abuse, we want to reenact and show what was being displayed, from what the prisoners could not see and what the general public sees. Showing this play at a prison is a deep reflection to the prisoners. It can be rewarding, joyous, serious, entertaining, hurtful, or beautiful. If it is holding people to account, making them see the error of their ways, making amends, showing justice being done, confronting them with the consequences of their behavior, forcing them to understand the effects of their actions on others. It is displaying a noble tradition, in self-reflection of what they did not see. As well as, Prison theatre can play with the performance traditions in the spaces that it meets rather than becoming another version of them.
Now when we look at this play and see whether we should have a big cast or not. We must account that not everyone has the same amount of people in a family to display the same situation as everyone else. So the number of actors/actresses we will be using is five. One actor will be the narrator because as said before, we are also displaying prison theatre and theatre of the oppressed. The rest of the actors/actresses will be playing a father, mother, and child, or depending on the scene of the situation we will have one actor be an outside spectator to show what they are seeing.
As we display this play it is usually targeted to all families with a view to encourage positive attitudes toward children and stopping abuse before it starts or is even considered. But since we are show casing a prison theatre production and theatre of the oppressed, our intended audience will be the prisoners that was child abuser who displayed this crucial/gruesome enactment to their child. Our reason on why we are targeting the prisoners are to empower them with knowledge and help them realize the pain that they caused to their child. We also want to acknowledge that child abuse leads to many bad effects not only for children that are being abuse but also the person who abuse the children. We should prevent it from getting worse as the children today will be a leader for tomorrow.
In a play concerning the situation of child abuse, certain uses of design and technology is implicated. Music and lighting play a key role in emotionally connecting the audience with the theme of the play. Certain examples on how this connection would be made through music is by using low-pitched depressing instrumentals at the time of child abuse taken in action and fast paced instrumentals to illustrate fear in the child. Essentially the music serves as a tool to develop rising emotions. Pinpointed lighting on the child or the abuser focuses the audience 's attention to create a larger drastic scene which has taken place. As our audience are prisoners who have committed the crime of child abuse before, the design of the play is essential to stick out to them. While the play progresses, certain background colors such as gray, black, and red can be used to signify the matter at hands.
When the play demonstrates parental child abuse used for discipline within the child, a gray background imagery can be used to exemplify how child abuse is a ‘gray’ matter. Basically, there are two sides of the argument concerning child abuse when it comes to parent’s disciplining their children. The use of gray imagery therefore supplies arguments inside the prisoner’s head to subject themselves as not criminals if they have only committed child abuse to teach discipline. But, even though the play may set up this case, the use of a black and red background strikes defeat to the prisoner’s mentality. This is because the connotations of black and red are negative and such an imagery would be used when the child is being abused towards horrible levels. Thus, the simple set up of background in this design can promote the harshness of child abuse as a theme towards the prisoners. Also, another way to reach out to the audience is by showing recordings of interviews between previous abusers or a clip of a child being abused. This way the audience feels like there is an opinion coming from a first-hand source. The promotion of the show leads itself. The goal of the theater is to allow the development of the person who has suffered from an incident and aid in the recover process by analyzing the roots of the situation. The cast and the production team will get permissions from various prisons to allow their performance and allow interactions between the inmates.
Outcome Statement
With our Applied Theater project being focused on Child Abuse our desired outcome is to not only decrease the number of children being abused, but to also bring those who have been abused to some consolation. By using the theater of the oppressed, we desire to show the people that those what life was like for the adults who either grew up abused, or grew up abusing their child. By using theater of the oppressed, we can provide insight to adults who have been abused and allow them to view themselves as they once were in hopes of the realization that they will know they are not alone and it was not their fault they were abused. Likewise, theater of the oppressed would help adults see the child’s point of view as they were being abused. It will allow those who have abused children to see the emotional and physical pain the child goes through. To be more precise, by using Prison Theater in our project as well, we felt that we would be able to target the adults who have abused a child in the past considering that they are convicted felons. Studies have shown that 14% of all men and 36% of all women in prisons around the U.S. were abused as children (source). By using Prison Theater as our applied method, we hope to put an end to the cycle that was created by the victim’s parents. Combining Theater of the Oppressed and Prison Theater would allow the insight to how the child felt while being abused, and hopefully recall how much they disliked it and lead into the prevention of another generation of abused children.
Every ten seconds a child is reported as being abused. With our applied theater project, our hope is to decrease the number of children significantly. It would be extravagant to get the number of abused children down to zero, but for now by showing our applied theater, we hope to reduce the yearly number of more than 3 million down by at least one third of the total amount. By performing using these two methods, we could inquire social change that would hopefully cause a domino effect in the community and eventually reduce the number significantly to one half, and each year make the number of abused children smaller and smaller.
WORK CITED
Balfour, Michael. Theatre In Prison : Theory And Practice. Bristol, UK: Intellect, 2004. eBook Collection (EBSCOhost). Web. 25 Nov. 2013.
Prendergast, Monica; Saxton, Juliana. Applied Theatre : International Case Studies and Challenges for Practice. Bristol: Intellect, 2009. Ebook Library. Web. 23 Nov. 2013.
Runyon, Melissa K., Esther Deblinger, Erika E. Ryan, and Reena Thakkar, Kolar. "An Overview of Child Physical Abuse." An Overview of Child Physical Abuse 5.65 (2004): n. pag. Sign In. Sage. Web. 25 Nov. 2013.
Smith, Melinda, and Jeanne Segal. "Child Abuse & Neglect." : Recognizing, Preventing and Reporting Child Abuse. Helpguide, Aug. 2013. Web. 24 Nov. 2013.
Berkson, Gershon. Children With Handicaps : A Review of Behavioral Research. Hoboken: Taylor and Francis, 2013. Ebook Library. Web. 25 Nov. 2013.
Milner, Joel S. "Assessing Physical Child Abuse Risk: The Child Abuse Potential Inventory."Clinical Psychology Review 14.6 (2004): 547-83. Pergamom - Eleisever ScienceLTD. Web. 23 Nov. 2013.
By: Kenny Nguyen, Pooja Panda, Kathryn Drake, Jubin Saha, Casey Hernandez
Child abuse is a pressing social issue. It will be best addressed by leading short but powerful workshops in multiple prisons using the methods and exercises of Theatre of Oppression. The hope is to allow prisoners, both victims and perpetrators, of child abuse, begin to understand and handle feelings associated with child abuse.
Summary of Issue
Theater of the oppressed allows oneself to completely immerse themselves in a situation and find the inner root of the problem. This theater is focused mainly on allowing the development of the person who has suffered from an incident in this case child abuse, to recover …show more content…
by analyzing the reason, the ways and the motives of that case. Augusto Boal, the founder of this idea, figured that the only way to bring justice to a specific internal issue or an attack was through analysis of the cause of the problem and speaking to the other party. Without communication there is a gap that allows for manipulation in a negative way that could hurt the oppressed individual. The audience in this theater should be very interactive; the whole point is to bring awareness.
There are the actors and the spectators also known as the audience must allow their input of how they would handle or tackle the situation by simply viewing the play or a scene. When viewing the case of a child abuse situation, the oppressed has the mental state of injustice and is basically put into prison of self-concern and trauma at all times. This should bring about societal awareness and through allowing the audience to be cognoscente about the situation, awareness on the topic can be more prevalent. There are different opinions about whether child abuse is rising or falling based on how it is reported. Andrea K. Walker illustrates the case: throughout time, child abuse has been seen too “increase by 5% in the last 12 years while child protective service agencies show a 55% drop in physical abuse from 1997 to 2009” as conducted by Yale school of medicine. This just shows a gray area on how prevalent the issue is. There is no consistent depiction of how many are abused, it is in the people’s hands to control it and show their awareness and promote it. Runyon, Deblinger, Ryan, Thakkar-Kolar in the school of osteopathic medicine in the University of Medicine and Dentistry in New Jersey State that actual “integrated parental to child cognitive behavioral therapy” is the best remedy. It provides benefits to both the parents and the child; there is improvement in attitude, behavior, school and just self. Awareness of such methods can only be bought about through theater because actions and scenes allow for the audience to analyze deeper into the situation and converse with themselves as to how they would react in that situation.
Victims of child abuse tend to be “hostile, take situations very aggressively” (Dodge Pettite (p.68)). An individual won’t stop taking in all those qualities all of a sudden, rather it grows as any disease or infection would. Relationships, external actions/ approaches become more risky and illegal even. The victim essentially victimizes him or herself. Only 13% of the children that face this issue are reported and receive the full treatment, (Kolko Selelyo (p.70)). The idea of it being kept in secrecy adds on to the list of what needs to brought about to civilians in order for such problems don’t continue to happen at such a rate. Parents that decide to use the method of beating and other harmful mechanisms are not stable themselves, which allows for the finding of the root cause. They don’t have the full on teachings of how a child develops. When such actions are put on young and raw minds of children, they will be traumatized for life. The attack lingers on to them for the rest of their lives regardless of any situation. Some qualities are inherited from parents and even certain behaviors and as a child; he or she will use that to their knowledge. As the children grow, they will use the same tactics of “parenting” when they develop as caretakers. According to help guide, child abuse is dictated many ways; for example “emotionally, physically and child neglect.” Take in consideration of the area of the emotional aspect of child abuse. Not having a sense of care, or attention with “frequent yelling, threatening or bullying” as help guide describes it, a child is more likely to adapt into those traditions and allow themselves to be victimized. As a child, he or she has no control or rather leadership over anything, it is the parent’s job
to mold or develop the child. With the lack of nurture and care, as a human, there won’t be any room for development. The issue lies in the hands of the guardians and essentially the final caretakers of the victim. Using this idea on stage can allow people to step into scenes that may seem odd or even out of realm and give their opinion which would essentially alert individuals who do face issues like these in their daily lives.
Summary of Method
The nature of the issue of child abuse provides great opportunity for Applied Theatre, and specifically Theatre of the Oppressed, to induce positive change. Many scenarios of physical maltreatment can be represented and recognized visually. Furthermore, the often unseen violent acts of harm such as beating, kicking, biting, and burning can immediately pull viewers out of comfort and catharsis. The greatest potential of change is found in theatrically exploring the intersection of these physical traumas and their deep psychological implications.
Many victims of child abuse suffer from psychological handicaps and report feelings of helplessness, misunderstanding, and crisis in self-identity (Berkson). They sense danger in the societal systems in which they play a role and often are unable to develop lasting relationships. In many ways, because of their tumultuous child experience, they no longer feel control of their actions and their environment. Likewise, many perpetrators of child abuse reveal similar feelings of lack of control. As Milner points out in his clinical research, the compulsion to inflict harm in these cases stem from external factors or mental issues that manipulate actions (553). There is no better way to begin to analyze and overcome these feelings, motivations, desires and fears than by going straight to the heart of the issue: using techniques of Theatre of the Oppressed with victims and perpetrators of child abuse in the prison system.
Theatre of the Oppressed, developed in 1979 by Andrew Boal, is a method of activating an audience to allow for exploration, analysis, and transformation of the reality in which they are living. Boal’s theater practice essentially breaks down the fourth wall barrier between spectator and actor to demand conscious reflection. Influenced by educator Paolo Freire and his book Pedagogy of the Oppressed and great social and political turmoil in Brazil, Boal first used this form of theatre to explore overt political oppression. During the 1980s, he shifted his practice to manifestations of psychological oppression. His work centered on identifying oppressions by capitalism, materialism and individualism, but the concept is adaptable to any form of mental pressure or coercion (Prendergast).
The Forum Theatre technique, one of several strategies used in Theatre of the Oppressed, provides a space for discussion and reflection as well as a “rehearsal for real action toward change.” In Applied Theatre: International Case Studies and Challenges for Practice, Prendergast explains how this exercise presents the play twice, the first time straight through, and the second free to be manipulated by the spectators (70). Scenes can be repeated, plots changed, alternative solutions discovered, and actor’s roles replaced. Most essential to this process is the Joker who facilitates the interactions of the professional improvisers and the audience. The Joker is responsible for identifying the desires of spectators and actors, manipulating the scenes of performance, and iterating important discoveries for all participants.
This role will require a highly skilled facilitator in the prison setting. Although there are many examples of work in prison related contexts, the danger of misunderstands and ethical differences remain. Theatre has been used to commentate on prison life, educate prisoners, provide for community healing in internment camps, and engage prisoners in dialogues about freedom, self-respect, and self-identity (Balfour). There is the power for profound change in taking a group of victims and perpetrators of child abuse who have already been incarcerated and giving them a forum to explore and wrestle with the innermost forces they feel they are not in control.
Plan of Action
The location of the play will be displayed at a jail, where we hand select based on information gather from the amount of prisoners that are in the prison for child abuse. We gather information from families that take play of the child abuse scene. The reason why we will be having the play there is because, we want to give the prisoners a chance to realize that they are all individuals with an opportunity for rehabilitation who recognizes and can change certain self-images, attitudes, beliefs and behaviors. As our social issue discusses about child abuse, we want to reenact and show what was being displayed, from what the prisoners could not see and what the general public sees. Showing this play at a prison is a deep reflection to the prisoners. It can be rewarding, joyous, serious, entertaining, hurtful, or beautiful. If it is holding people to account, making them see the error of their ways, making amends, showing justice being done, confronting them with the consequences of their behavior, forcing them to understand the effects of their actions on others. It is displaying a noble tradition, in self-reflection of what they did not see. As well as, Prison theatre can play with the performance traditions in the spaces that it meets rather than becoming another version of them.
Now when we look at this play and see whether we should have a big cast or not. We must account that not everyone has the same amount of people in a family to display the same situation as everyone else. So the number of actors/actresses we will be using is five. One actor will be the narrator because as said before, we are also displaying prison theatre and theatre of the oppressed. The rest of the actors/actresses will be playing a father, mother, and child, or depending on the scene of the situation we will have one actor be an outside spectator to show what they are seeing.
As we display this play it is usually targeted to all families with a view to encourage positive attitudes toward children and stopping abuse before it starts or is even considered. But since we are show casing a prison theatre production and theatre of the oppressed, our intended audience will be the prisoners that was child abuser who displayed this crucial/gruesome enactment to their child. Our reason on why we are targeting the prisoners are to empower them with knowledge and help them realize the pain that they caused to their child. We also want to acknowledge that child abuse leads to many bad effects not only for children that are being abuse but also the person who abuse the children. We should prevent it from getting worse as the children today will be a leader for tomorrow.
In a play concerning the situation of child abuse, certain uses of design and technology is implicated. Music and lighting play a key role in emotionally connecting the audience with the theme of the play. Certain examples on how this connection would be made through music is by using low-pitched depressing instrumentals at the time of child abuse taken in action and fast paced instrumentals to illustrate fear in the child. Essentially the music serves as a tool to develop rising emotions. Pinpointed lighting on the child or the abuser focuses the audience 's attention to create a larger drastic scene which has taken place. As our audience are prisoners who have committed the crime of child abuse before, the design of the play is essential to stick out to them. While the play progresses, certain background colors such as gray, black, and red can be used to signify the matter at hands.
When the play demonstrates parental child abuse used for discipline within the child, a gray background imagery can be used to exemplify how child abuse is a ‘gray’ matter. Basically, there are two sides of the argument concerning child abuse when it comes to parent’s disciplining their children. The use of gray imagery therefore supplies arguments inside the prisoner’s head to subject themselves as not criminals if they have only committed child abuse to teach discipline. But, even though the play may set up this case, the use of a black and red background strikes defeat to the prisoner’s mentality. This is because the connotations of black and red are negative and such an imagery would be used when the child is being abused towards horrible levels. Thus, the simple set up of background in this design can promote the harshness of child abuse as a theme towards the prisoners. Also, another way to reach out to the audience is by showing recordings of interviews between previous abusers or a clip of a child being abused. This way the audience feels like there is an opinion coming from a first-hand source. The promotion of the show leads itself. The goal of the theater is to allow the development of the person who has suffered from an incident and aid in the recover process by analyzing the roots of the situation. The cast and the production team will get permissions from various prisons to allow their performance and allow interactions between the inmates.
Outcome Statement
With our Applied Theater project being focused on Child Abuse our desired outcome is to not only decrease the number of children being abused, but to also bring those who have been abused to some consolation. By using the theater of the oppressed, we desire to show the people that those what life was like for the adults who either grew up abused, or grew up abusing their child. By using theater of the oppressed, we can provide insight to adults who have been abused and allow them to view themselves as they once were in hopes of the realization that they will know they are not alone and it was not their fault they were abused. Likewise, theater of the oppressed would help adults see the child’s point of view as they were being abused. It will allow those who have abused children to see the emotional and physical pain the child goes through. To be more precise, by using Prison Theater in our project as well, we felt that we would be able to target the adults who have abused a child in the past considering that they are convicted felons. Studies have shown that 14% of all men and 36% of all women in prisons around the U.S. were abused as children (source). By using Prison Theater as our applied method, we hope to put an end to the cycle that was created by the victim’s parents. Combining Theater of the Oppressed and Prison Theater would allow the insight to how the child felt while being abused, and hopefully recall how much they disliked it and lead into the prevention of another generation of abused children.
Every ten seconds a child is reported as being abused. With our applied theater project, our hope is to decrease the number of children significantly. It would be extravagant to get the number of abused children down to zero, but for now by showing our applied theater, we hope to reduce the yearly number of more than 3 million down by at least one third of the total amount. By performing using these two methods, we could inquire social change that would hopefully cause a domino effect in the community and eventually reduce the number significantly to one half, and each year make the number of abused children smaller and smaller.
WORK CITED
Balfour, Michael. Theatre In Prison : Theory And Practice. Bristol, UK: Intellect, 2004. eBook Collection (EBSCOhost). Web. 25 Nov. 2013.
Prendergast, Monica; Saxton, Juliana. Applied Theatre : International Case Studies and Challenges for Practice. Bristol: Intellect, 2009. Ebook Library. Web. 23 Nov. 2013.
Runyon, Melissa K., Esther Deblinger, Erika E. Ryan, and Reena Thakkar, Kolar. "An Overview of Child Physical Abuse." An Overview of Child Physical Abuse 5.65 (2004): n. pag. Sign In. Sage. Web. 25 Nov. 2013.
Smith, Melinda, and Jeanne Segal. "Child Abuse & Neglect." : Recognizing, Preventing and Reporting Child Abuse. Helpguide, Aug. 2013. Web. 24 Nov. 2013.
Berkson, Gershon. Children With Handicaps : A Review of Behavioral Research. Hoboken: Taylor and Francis, 2013. Ebook Library. Web. 25 Nov. 2013.
Milner, Joel S. "Assessing Physical Child Abuse Risk: The Child Abuse Potential Inventory."Clinical Psychology Review 14.6 (2004): 547-83. Pergamom - Eleisever ScienceLTD. Web. 23 Nov. 2013.