Interpretations Are Considered the Most Difficult Aspect of Art Therapy
Officially founded equally an independent science in the United States in the late sixties, Art therapy, although nonetheless borrows the theoretical fundament of psychoanalysis, has its ain distinctive characteristics. This newspaper attempts to review the methodology of art therapy. When not aiming at the overview of art therapy history, it presents art therapy'south nigh pivotal features, including its difference from art education, non-verbal communication, metaphoric significant and relationship-oriented character. The levels of Expressive Therapies Continuum (ETC) every bit developmental steps and the utilise of art therapy media are besides presented in this paper.
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Международного университета природы, общества и человека «Дубна»
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29
Art Therapy – A Reviewest of Methodology
Minh-Anh Nguyen
Officially founded equally an independent science in the United states of america in the latdue east sixties, Art therapy,
although even so borrows the theoretical fundament of psychoanalysis, has its ain distinctive
characteristics. This paper attempts to review the methodology of art therapy. When not aiming at the
overview of fine art therapy history, information technology presents art therapy's most pivotal features, including its difference
from fine art instruction, non-verbal communication, metaphoric meaning and relationship-oriented
character. The levels of Expressive Therapies Continuum (ETC) equally developmental steps and the use of
art therapy media are likewise presented in this paper.
Keywords: art therapy, fine art educational activity, symbolism, non-verbal communication, metaphor,
Expressive Therapies Continuum (ETC), fine art therapy media
"Emotion, which is suffering, ceases to be
suffering as before long as we form a clear and precise
motion picture of it"
Frankl, Five.East. (1959). Man'due south Search for
Meaning. New York: Pocket Books, p. 117.
1. Definition of Fine art therapy
1.1. Art therapy
Art therapy is based on the thought that the creative process of art making is healing and
life enhancing and is a form of nonverbal communication of thoughts and feelings (American
Fine art Therapy Clan, 1996, in Malchiodi, 2003, p. 1). Art therapy is based upon the
theory that early trauma or developmental conflict may not exist accessible through typical
verbal language but rather is stored in the unconscious in pre-exact forms of sensory,
kinesthetic or imaginal cognitions and associated due eastmotional experiences represented in
symbolic language (Robbins, 2000; Wadeson, 2010). The procedure of accessing these pre-
exact ways of knowing and experiencing requires the development of an intentional
therapeutic relationship or holding surroundings in which the therapist attunes to, joins with
and mirrors the pre-verbal consciousness of the client. Using emotional presence and
attunement the art therapist selects relevant art processes to mirror the clients due eastmotional and
relational state and consistently nurture the emergence of metaphoric and symbolic language
that re-constructs the personal narrative of the client (Gerber, 2014; Robbins, 2000). Outcome
studies showed that long-term individual fine art therapy was due eastffective in promoting cognitive and
emotional development, enabling relationships and lessening destructive behaviors in adults
and children (Alders & Levine-Madori, 2010, Dudley, 2004; Evans & Dubowski, 2001;
Henley, 2001; Klorer, 2000, 2005; Klorer & Robb, 2012; Kornreich & Schimmel, 1991;
Kramer, 1977; McGregor, 1990; Ponteri, 2001; Smitheman-Brown & Church, 1996; Spring,
2001; Tipple, 2003).
The commencement primary'due south degree in art therapy in the Usa was offered at Hahnemann Hospital
and Medical College (at present Drexel University) in Philadelphia in 1967 (Westwood, 2010).
Until tlid point art therapy was taught in New York City by Yardargaret Naumburg, and in
Washington, D.C. at the Washington School of Psychiatry. Art therapy was finally able to
stand as a legitimate subject field incorporating elements of both art and therapy in 1970 when
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the American Art Therapy Association held its first annual conference (The First AATA
Conference Plan, 1994).
1.2. Art therapy vs. Fine art education
Co-ordinate to Rubin (1978), "Perhaps 1 of the means in which fine art therapy differs
from art inorth other contexts is the importance of the relationship between the therapist and
client(southward). For creating art within a therapeutic human relationship is unlike frogrand drawing by
oneself or workinchiliad in a grade. Information technology isouthward a kind of special protected situation, where one person
creates an environment, physical and psychological, in which one or more others tin can fully
explore, expand, and understand themselves through art. In this relationship, the child
voluntarily exposes himself to another, and learns to look with that other person at his creative
statements and at himself. Often in that location are few or no words, still the existence together and sharing
of both procedure and product offer protection, validity, even permanence, to the event, which
could otherwise be and then vulnerable, so delicate (Rubin, 1978, p. 270).
Malchiodi (1998) mentioned: "Art therapy supports the belief that all individuals have
the chapters to express themselves creatively and that the product is less important than thursday e
therapeutic proassessment involved. The therapist's focus is not specifically on the aesthetic claim
of art making but on the therapeutic needs of the person to limited. That is, what is important
is the person's involvement in the work, choosing and facilitating art activities that are helpful
to the person, helping the person to find meaning in the artistic procedure, and facilitating the
sharing of the eastxperience of image making with the therapist" (p. 1). This viewpoint
dramatically distinguishes fine art therapy from art education and activities per se. Besides that, art
therapy has been influenced by psychological theories including psychodynamic,
developmental, humanistic and cognitive behavioral and therefore various approaches have
been developed. These theoretical approaches and therapeutic aspects accept brought art
therapy specific characteristics that are not included in fine art education or art activities
themselves.
ii. Ii leading models of Art therapy
2.1. Fine art in therapy of Margaret Naumburg
The integration of Freudian thinking almost the dynamics of unconscious
communication with its facilitation through the images and symbols of art was primarily
initiated by Margaret Naumburg. In the Walden School founded in 1915 by herself (1928),
Naumburg recommended that all her teachers undertake analysis and she encouraged the
children in "spontaneous, free art expression" which produced "original and amazing images"
seemingly "created from their unconscious". This pb to Naumburg's (1928) confidence tchapeau,
"such free fine art expression in children was a symbolic form of voice communication basic to all educational activity...
that such spontaneous art expression was also basic to psychotherapeutic treatment" (p. 30).
Naumburg (1958), really referred to as the founder of fine art therapy, based her " fine art
psychotherapy" theoretical framework and its methods on releasing spontaneous art
expression; it has its roots in the transference relation between patient and therapist, and on
the encouragement of complimentary association. Naumburg used art every bit the means for clients to visually
projection their conflicts. For Naumburg (1958), the value of therapeutic art, "is based on the
recognition that man's nearly fundamental thoughts and feelings, derived from the unconscious,
reach expression in images rather than words" (p. 511). But while taking the technique of free
clan from psychoanalysis, Naumburg did non agree with the Freudian'south stress odue north
putting subjective experiences into words. In contrasting the ii approaches Naumburg stated
that "In art therapy the patient'due south unconscious imaged experience is transposed directly into an
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actual pictured image" whereas in psychoanalysis "such inner visual experiences must be
retranslated from an imaged into a verbal communication" (Naumburg, 1966, p. two).
Naumburg proposed once patient had created nonverbal spontaneous imagery they
would make verbal associations to their pictures. She as well believed that art therapy, fiftyike
psychotherapy, takes identify westithin a transference relationship, but she departed from
traditional analytic techniques in that she insisted that the patient sit upright, take an human actionive
rather than dependent function, and analyze and interpret his or her ain imagery (Junge & Asawa,
1994, p. 24-25). Margaret Naumburg'due south formulation clearly focused on the therapy part rather
than the art attribute. And every bit we see, Naumburg emphasized the interpretation of the customer's
artwork.
ii.two. Art as therapy of Edith Kramer
Edith Kramer developed the term "art as therapy" (Ulman in Rubin, 1987, p. 281). Her
premise was that the art process itself allowed the client to recreate chief experiences and
feelings, thereby offering the opportunity to "re-experience, resolve and integrate disharmonize"
(Ulman in Rubin, 1987, p. 280).
Kramer's theoretical model focused on art as therapy, rather than in therapy as
Naumburg suggested (Junge & Asawa, 1994, p. 31). Although Kramer used psychoanalytic
theory to form her approach to art therapy, she separated the role of the fine art therapist from that
of the psychotherapist in no uncertain terms. Viewing her work as a rather special form of art
class, she chosen her clients "students" and stated that the fine art therapist must be skilled as artist,
teacher, and therapist: "The art therapist… communicates westith his students via the students'
paintings and this communication has therapeutic value… But he is no psychotherapist, and it
is not his function to interpret deep unconscious content to his students… The bones aim of the
art therapist is to make available to disturbed persons the pleasures and satisfaction which
creative piece of work can give." (Kramer, 1958, p. v). Kramer cautioned that the art therapist "volition
not, as a rule, directly interpret unconscious meaning, but… volition use his knowledge to help
the child produce art work that contains and expresses eastmotionally loaded cloth" (Kramer,
1971, p. 34). Non advocating the uncovering of conflicts or the attacking of defenses,
Kramer's primary focus is onorth the use of fine art to enhance sublimation, the process tchapeau was
defined by Freud as a defense mechanism of the ego in which primitive asocial influence is
transformed into a socially productive act (Junge & Asawa, 1994, p. 34-35). Kramer
emphasized the art process itself.
3. Characteristics of Art therapy
3.1. Non-verbal communication
Nonverbal advice is our well-nigh basic form of communication and it is how
caregiver and infant initially connect in the kickoff years of life (Schore, 2003). Since thoughts
and feelings are not strictly verbal and are not limited to storage equally verbal language in the
encephalon, art therapy is particularly useful in helping individuals communicate their stories that
may not exist readily available through words. For some individuals, conveying a memory or
story through creative modality is more hands tolerated than verbalization.
According to Dewey (1934), "If all meanings could exist adequately expressed by
words, the arts of painting and music would not exist" (p. 74). When it comes to emotions, art
forms transfer our internal messages more authentically, yet diversely, than exact ways.
Noted fine art philosopher, Langer (1942), calls the internal world feeling and argues that the form
of art is designed to convey this feeling to others. According to Langer (1942, 1953), fine art's
form is comprised of the visual, structural elements of the artwork such as color, line,
composition, etc. Langer believes that artistic course may be u.s.ed to stand for internal feeling
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in a structural way. Form is the structure of the art, and it is this structure to which nosotros respond
when we view, hear, or otherwise experience it.
Art therapy and other healing practices incorporating creative expression become very
useful, particularly in settings where talking or writing is not possible, or conducive to
healing. A young child or disabled person may not be able to speak or have adequate
vocabulary. A victim of a crime may find security using creative expression as a tool to
protect oneself (Glazer, 1998; Henderson, 2007; Rogers 1993). A perpetrator of a crime may
find solace in using creative expression as a tool for healing, displacing or avoiding shame
and guilt. When working with clients, the process of artistic expression allows one "to enter
into an organic, spontaneous procedure tlid comes from a deep and unremarkably non-verbal identify"
allowing "the client and therapist to hear and respond to the voice of the soul", equally Rowe
references Signell, 1996 (Rowe, 2008, p. 121). Not-verbal expression through a painting may
exist, in and of itself, a corrective feel.
3.2. Metaphor as therapeutic means
"Feeling without symbolization is bullheaded; symbolization without feeling is empty"
(Gendlin, 1962, p. 5).
Moon (2007) southays that "all artworks are metaphoric depictions of the people who
create them" (p. 3). Metaphoric imagery can provide clients and therapists psychological
insights that 1000o across linear rationality. "In response to clients' metaphors, I often create
stories or poems nigh the images, and encourage clients to do the same" (Moon, 2007, p. 4).
Artwork allows the customer to limited symbolism, metaphor and feeling with much of
the freedom of dreams. Simultaneously with art, the person moves in and out of the repertoire
of applied and psychological skills, which are part of being an aware grattributable person. Keyes
(1983) finds that "… Using art materials to make images and connecting them to fee lings and
body states brings into the open emotions and thoughts that accept been only vaguely sensed.
Closure becomes possible for unfinished issues that push for resolution" (p. 104).
The concepts of signs and southymbols are explored by theorists in a wide variety of
disciplines. Humans use a system of due southigns to communicate about both concrete and abstract
concepts. A sign is generally considered to be a stand-in; one says "cow," for case, rather
than going to the field, tying a rope around a cow's neck, and leading it into the room. A
symbol represents something deeper – the experience of larger and more complex concepts,
which are harder to reduce to signs.
In full general, psychological theorists tcease to be more interested in symbols (meanings)
than signs (names). What Freud (1965) called symbols are actually closer to signs; they serve
every bit stand-ins (e.g. the famed cigar). Jung's (1933) symbols represent a deeper, ineffable,
mystical process in which the psyche works to heal and defend itself. Lacan (2002) and
Kristeva (as described in Borch-Jacobsen, 1991; Bowie, 1993) also wrote extensively about
symbols, in detail their semiotic meaning and the interplay between internal signs and
external symbols.
Speech does not seem to exist a natural mode for communicating connotation. Where
verbal and visual signs fall short, art can office as a symbol and, as Langer (1942, 1953)
and others (Borch-Jacobsen, 1991; Bowie, 1993) would fence, may do so in a mode that is
more powerful and more effective than exact signs alone.
Metaphor thousandeans "to acquit across" idue north Greethou. Without metaphor, language conveys
isolated undimensional experiences. With metaphor, language is a tool that allows u.s.a. to
model a universe of space possibility. Every bit information technology shatters old paradigms, metaphor releases new
energies and stimulates new experiences. In placing a "radiant obstacle in the path of the
obvious" (Cox & Theilgaard, p. 139 in Gorelick, 1989) metaphor can change the perception
of events and interpretation of experience. In sum, metaphors convey and link the bones
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elements of our nature, including the unconscious, defenses, relationships, the reframing of
erstwhile experiences and learning of new ways, self-actualization, and transcendence (Gorelick,
1989). Metaphor is the "mutual carrier" tchapeau ensures that each school of psychotherapy is
represented in all others, and all in each. The CATs have the stardom that our central
concern is the creation and application of metaphor itself. Tolaas (1991) proved that metaphor
has concrete and social nature and is conceptualized during the start year of life.
For Moon (2007), "6sual metaphors foster opportunities to back up, inform, engage,
offer interpretations, provoke thought, and gently confront clients in ways that are potentially
rubber and psychologically non-threatening" (p. 15). Artistic metaphors are indirect expressions
and, therefore, less confrontational and psychologically threatening than directly statements. An
artwork idue south an externalized object once removed the client. Consider the deviation between
request a client to "explain why you lot are defensive" and asking the same client to "draw walls."
The content of the client's expressions might exist like in both instances, but the affective
experience could be markedly dissimilar. The act of drawing a wall can be a safer, less feet-
provoking way to deal with personal defenses. This quality of safety depends upon both the
art therapist's power to keep inside the construction of the metaphor and the customer's capacity to
trust the art-making process. Creative metaphors also provide opportunities for clients to
reframe their experiences by looking at situations from new perspectives and making them
concrete in visual images. Beside that, when an art therapist creates art aslope the client,
the human action of working together encourages a human relationship that goes deeper than words.
Equally metaphor is i of the almost common literary devices, it tin be found in nigh any
text. Some metaphors establish in The Bible are alluded to and referenced in many other texts, and so
it pays to be familiar with them and understand what is being said. For example, "I am the
vine; you are the branches. If you remain in me and I in y'all, y'all will bear much fruit; apart
from me you can do naught." (John 15:5). Jesus knew that people often larn bes t when they
are able to move from what is known (familiar) to what is unknown (unfamiliar). Past using
metaphors Jesus showed that he was the master teacher by using comparisons and contrasts of
things that were familiar to his audience. He made the complex unproblematic and easy to
understand. Buddha was another groovy principal instructor by using metaphors: "Merely as a candle
cannot burn without fire, men cannot live without a spiritual life" (Buddha). Metaphors can
also be constitute in quotes of notable people: "A good conscience is a continual Christmas"
(Benjamin Franklin), or "Conscience is a man's compass" (Vincent Van Gogh).
3.3. Relationships oriented
Human beings ardue east, past nature, social (Vygotsky, 1987). We need and depend upon
relationships with others in order to survive and develop. Interpersonal relationships are the
foundation and theme of human life, and most human behavior takes place in the context of
the individual'south relationships with others. Psychologists believe that the human'southward omnipresent
human relationship context strongly influences each individual'due south behavior and his or her development
over the life bridge (Reis, Collins, & Berscheid, 2000).
Clients seen in art therapy frequently complain of feeling disconnected and alienated
from themselves or other people. At other times, they may feel overwhelmed or persecuted by
them. For mwhatsoever art therapists, the origins of these difficulties reside in past relationship
problems (Edwards, 2014, p. 43).
Robbins (2000) indicated that "… In art therapy, nosotros are constantly working to brand
aesthetic expression a complement to self-expression in one's relationship with others. In that
procedure, the art therapist works with an individual's character defenses and southwardlowly helps him
to digest emotionally the total impact of the symbolic communications then that in that location is a real
sensation of what is beingness said in symbolic form and of how the client tin can manifest that in
ongoing relationships with others" (p. 23).
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According to Robbins (2000), "In essence, the therapist creates a holding environment
in which empathy is the basis of communication. Empathic contact becomes a bipolar bridge
that respects the defenses while addressing the wish to be understood" (p. 27).
Jerome Frank, in his classic piece of work (1973), has described the "essential features" shared
by all effective psychotherapies: (a) the helping human relationship that offers caring and empathy
and mobilizes hope, (b) a special setting that provides southhelter from ordinary demands, (c) an
optimistic philosophy of life and a rational explanation for the problems, (d) powerful
procedures that demonstrate the powers of the therapist, arouse the patient's emotions, and
permit him or her to demonstrate mastery.
4. Functions of Fine art therapy
iv.ane. Art therapy every bit a therapeutic procedure
There are several significant interpretations of the means art may be used in the
therapeutic process. Ulman (1975) points out that in the broadest interpretations art therapy is
the employ of any visual materials "in some endeavour to assist integration or reintegration of the
personality" (p. 3). The various forms art therapy seem to take may in large part emerge from
the setting in which it is practiced. For example, art in clinical settings has produced
psychoanalytic applications, while art in educational settings has produced an accent on the
integration of cognitive and emotional processes to raise development, motivation,
beliefs, and learning (Williams & Wood, 1977, p. five).
Deny (1972) has encompassed an eclectic position into his art therapy techniques.
With an emphasis on the client'south needs, he suggests that art may exist effective in a wide range
of behavioral processes, including "… catharsis, increase or subtract in effective
communication, self-disclosure, and changes in attitude and behavior" (p. 118). He further
elaborates on fine art therapy techniques under six headings: exploration, building rapport,
expression of inner feelings, self-perception, interpersonal relations, and the individual'due south
place in his world. These categories, each describing a different focus, suggest one arroyo
to guiding the art therapy process (Williams & Wood, 1977, p. vi).
4.ii. Art therapy as a developmental process
Fine art therapy uses the noesis of a kid'south developmental stages to appraise the
psychological grandakeup and normative progression of the kid or adult (Gerber & Lyons,
1980) in order to develop an art therapy treatment plan. Information technology involves sensitivity to the child'
psychosocial developmental status and attempts to identify the conflicts and problems, cognitive,
emotional and behavioral that may be preventing progressive development (Gerber & Lyon,
1980; Lowenfeld, 1947).
Rubin (1978) calls the creative process a learning feel (p. 268). In art, even a
child may have what Maslow calls a "peak experience" (1959), or may experience a sense of
heightened awareness and aliveness, what Ulman calls "a momentary sample of living at its
best." (1971, p. 93). Through art, a youngster may experience not only the momentary release
of tension through a discharge of surplus energy, simply the release of unconflicted energy,
newly available for effective use, through the sublimation and resolution of conflicts in one case
draining his resources. Through art, a process in which one is in bear on with all levels of
consciousness (Kubie, 1958), and with external stimuli, 1'due south level of awareness may be
enlarged, expanded, deepened, and sharpened. "This openness to experience may itself be
experienced: first, as a mood; secondly, as understanding; and thirdly, as expression."
(Kaelin, 1966, p. 8)
A kid can, in art, develop autonomy and independence, taking responsibleness for both
process and product. He can learn to choose, to make, to deed, to revise decisions, to appraise
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and evaluate, and to learn from past experience. In art a child cadue north experiment symbolically,
may try out in both process and production feelings and ideas which may eventually become
possible in reality. He tin manipulate media which practice not talk back, enabling him to
feel a kind of power and mastery at no risk. He can master tools and processes, and tin
feel competent. He can learn to accept his regressive/aggressive symbolic self, and canorth come
to value his artistic/productive self, leading to a deep feeling of cocky-worth. He can discover,
develop, and define his uniqueness, creating in and through his fine art a sense of himself as
special. He can eastwardxperience the pleasure of an aesthetically fine production, the joy of sharing information technology
with a loved 1, the pride in the affirmation of another (Rubin, 1978, p. 269).
Kagin and Lusebrink (1978, in Lusebrink, 1990, p. 92-95) and afterward Hinz and
Lusebrink (Hinz & Lusebrink, 2009) formulated a conceptual model of expression and
interaction with media on different levels constituting the Expressive Therapies Continuum
(ETC). This model consists of four fiftyevels organized in a developmental sequence of image
germination and information processing. The showtime three levels reflect the developmental
sequence and increasing brainchild in information processing in the following sequence:
kinesthetic/sensory level (K/S), perceptual/affective level (P/A), and cognitive/symbolic level
(C/Sy). The quaternary level, the creative level (CR), can be present at whatever of the previous levels
and may involve synthesis of all the other levels.
The kinesthetic/sensory level corresponds to sensorimotor phase of cognitive
development (Piaget, 1969) and focuses primarily on the preverbal experiences, the release of
energy and expression through bodily human activityion and movement (kinesthetic), as well as tactile
and haptic, internal or external sensations experienced by interacting with art media (sensory).
Developmentally this is the way in which children process information: they physically
manipulate materials to grade internal images of them (Lusebrink, 1991; Piaget, 1959;
Vygotsky, 1962). Likewise that, the rhythm created past the motoric and affective aspects
accompanying the act of drawing produces a sense of relaxation and stability. Kinesthetic and
sensory information gathered from the manipulation of art materials forms the footing of many
experiences, and thus profoundly influences the understanding of emotion and the development of
memory (Damasio, 1994; Lusebrink, 2004; Siegel & Hartzell, 2003).
The perceptual/melancholia level represents the interaction betwixt the perceptual
and affective aspectsouth of expression and the influence of dissimilar media upon that interaction.
Individual perceptions of reality are neurologically based, culturally influenced, and different
from other individuals' perceptions. In order to accept fulfilling relationships it is helpful if
people understand the concept of representational diversity and are open up to new perceptual
experiences (Hinz & Lusebrink, 2009, p. 10). The perceptual pole of this level focuses on the
form or structural qualities of the expression, such equally defining boundaries, differentiating
forms, and striving to attain an appropriate representation for an inner or external
feel. Media with loftier structural qualities (e.g., wood or chiliadosaic) are more likely to
evoke an inner organization in the private than fluid media (e.one thousand., watercolour) where the
individual has to impose a structure upon the medium. Fine art therapy experiences on the
perceptual/affective level cadue north be designed to broaden clients' perspectives and increase their
ability to due southee another person's point of view through a new visual linguistic communication. In addition,
anybody should understand and take access to information about their emotional states.
Emotions are used in decision making, retentivity operation, and motivating behavior
(Damasio, 1994; Ekhuman, 2003; Plutchik, 2003). The affective component of this level
modifies the form, and the form in turn gives a construction to touch on. The innate striving for practiced
gestalts may be countered by emotional expression and distortion of the form created or
perceived. Farthermost examples of this interaction can be seen in either in the distortion of form
in angry expressions or in the containment of anger in a geometrization of form. The use of
intense colors and fluid media, such as poster paint, facilitates the expression of touch on.
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Identification of the forms facilitates the expression of affect and the internalization of
construction. The internalization and brainchild of perceptual and affective schemata lead to the
following C/Sy level. Experiences on the perceptual/affective level can aid clients identify
emotions, facilitate bigotry amidst emotional states, and aid in the advisable
expression of emotions (Hinz & Lusebrink, 2009, p. 11).
The cerebral/symbolic level corresponds to boyhood and the development
of formal operational idea (Piaget, 1969). Because adolescents are able to think exterior
their own feel, and their thoughts have achieved a new level of complexity, they are
able to employ symbols to represent feelings, thoughts, and issues (Hinz & Lusebrink, 2009, p.
12). This level encompasses conceptual and anticipatory operations with images and the
respective verbalizations describing these operations. The cognitive component of this
level focuses on analytical, consecutiveial operations; logical thought; and problem solving.
Abstractions and concept representation through visual forms are part of cognitive operations.
Resistive and structured media, such as pencils or construction paper, enhance operations on
the cognitive level. Naming the product, verbalization of the process, and internalization of
verbal commands constitute part of the cognitive level. Input from the cognitive component of
the ETC provides reality feedback in all areas of information processing. The symbolic
component of this level focuses onorthward intuitive concept formation, realization and deedualization
of symbols, and the symbolic expression of pregnant. The symbols germination per se may lead
to the sublimation of more bones drives into culturally acceptable expression, thus leading to
the next or artistic level. Potentially, anybody tin can benefit from the ability to understand and
employ southwardymbolic thought. Symbols provide access to intuitive functions, and serve as reminders
that experiences are not entirely witting and fully understood. Art therapy with the
symbolic component of the ETC can aid clients in accessing the wisdom of their bodies or the
wisdom of the earth, neither of which southacme in words. Symbol use can allow clients to
maintain a healthy sense of mystery in their lives (Hinz & Lusebrink, 200ix, p. 12).
The creative level of the ETC may exist at any or in all levels, and often serves
an integrative office. It emphasizes the synthesizing and cocky-actualizing forces of the ego
and cocky. Jung (1964) stated that all persons prove a tendency to grow toward wholeness,
bringing to light their uniqueness and individuality, and for him, this trend was all-time
displayed by the creation of a mandala. According to Johnson (1990), creative experiences
can destroy a "false self" developed inorthward response to shame, and canorth reinforce an authentic
sense of self. The sublimation is an instance of a creative deed. The artistic human action culminates in
an affective experience of closure and a sense of unity betwixt the medium and the message.
In all types of creative experiences, the artist feels intense joy, which May (1975) defined every bit
"the emotion that goes with heightened consciousness, the mood that accompanies the
experience of actualizing one's ain potentialities" (p. 45).
A well-functioning private is able to process information on all levels and with all
components or functions of the ETC. However, about individuals seeking therapy would not
consider themselves functioning optimally, but rather as experiencing problems with living.
The ETC helps therapists conceptualize these problems in at least two ways. Issues with
living that can prompt individuals to seek psychotherapy occur when people are blocked from
receiving or processing data from one or more components of the ETC. Difficulties
also can arise when individuals demonstrate strong preferences to process information
exclusively with one component. When information processing strategies are limited by being
blocked or overused in a restricted manner, conclusion-making skills are impaired and life
choices often are too narrowly defined (Hinz & Lusebrink, 2009, p. xiv).
The ETC can be used to appraise clients' preferred and blocked levels of information
processing and to prescribe desired therapeutic experiences. Thursdaye structure of the ETC tin can
assist creative arts therapists assess both their clients' favored components and significant
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obstacles to optimal functioning. This assessment information is gathered through evaluating
media preferences and styles of interaction with the media, equally well as graphic indicators and
expressive elements from last art products. Further, therapists can apply data from the
ETC to guide clients through experiences designed to eliminate impediments to effectively
using any component, or to reducing overdependence causing rigid functioning. Clients'
social and occupational functioning tin be improved by removing obstacles, and increasing
flexibility in the ways information is processed and decisions are kade. (Hinz & Lusebrink,
2009, p. xv).
Questions posed to the client tin be primarily directed at expression on unequalerent
levels of the ETC in the following manner (Lusebrink, 1990):
"What are yous doing?" "What exercise you want to do?" "Can you human action information technology out?" are
directed to responses on the kinesthetic level.
"What exercise you sense?" brings the focu.s. of attention to awareness.
"What do you see or perceive?" directs attention of the perceptual aspects of
the expression.
"How do you feel?" focuses on impact.
"How exercise different parts relate to each other?" "What are the necessary steps to
solve the problem?" and similar questions address cognitive operations.
"What does it mean to you?" or "What associations practice you take with it?" arm-twist
elaborations on the symbolic aspects of the expression.
It is best to avoid questions using why because they tend to lead to rationalizations.
v. The Use of Media in Art therapy
The manipulation and purposeful grasping of art therapy media can often be
experienced as a non-exact language (Hass-Cohen, 2007). Naumburg believed that positive
therapeutic outcomes could exist achieved solely through the apply of pastels and poster paints
(Naumburg, 1966). Robbins and Sibley (1976) stressed the importance of offer an aplenty
assortment of media (p. 207). Yet, it is the purposeful manipulation of the art media and
the fine art production that play the therapeutic role in fine art therapy, not solely the art media per se.
For instance, inorthward ane written report, creating collage images was associated with decreased negative
mood, merely merely viewing and sorting pictures was not (Bell & Robbins, 2007). Drake et al.
(2011) compared writing and drawing (both with black pen) to ameliorate negative mood and
found significantly more than positive furnishings for drawing than writing. Curl (2008) studied the
effects of cartoon and collage, carried out with either a positive or negative mental
framework, and found that both art tasks, paired with a positive cerebral focus, reduced
stress.
5.ane. More structured and less structured media
Fine art media eastxists on a continuum from most structured to least structured. At the most
structured terminate are media like graphite pencils and colored pencils. These are media with more
inherent construction are called resistive because they resist easy alteration. They are advocated
for control (Malchiodi, 1998), create precise lines, and promote a considered and thoughtful
experience. Other materials like collage, stamps, and pens or markers would also be
considered structured and controlled. Anxious individuals volition often feel more comfortable
with structured media as this allows them to take a greater sense of safety and control during
the art-making experience. The most structured materials are usually provided at the
beginning of art therapy treatment to help clients feel comfortable westwardith the process. Pencils
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and markers that are like shooting fish in a barrel to draw with and allow for details might exist appropriate options for
concrete tasks, such every bit creating picture of self-portrait, or a family doing something together.
Toward the less structured or more fluid media are materials like watercolor paints, oil
pigment, chalk pastels, and clay. These media canorthward exist very expressive just are more difficult to
control. They tend to increase the emotional experience and expressiveness (Horowitz &
Eksten, 2009; Rubin, 2011). Paint or oil pastels might be more motivating for a directive that
involves and something like representing how you are feeling, since they may help to deepen the
emotional eastxperience and expression. Fluid media are also believed to access unconscious
processes, mediated on a preverbal level by the right hemisphere of the brain, and thus assistance in
the integration of long-term memory (Morley & Duncan, 2007) and trauma recovery (Gantt &
Tinnin, 2009).
Many people also find watercolors and other fluid media to be relaxing and
encouraging of a more meditative experience. However, fluid media and the resulting
emotional vulnerability can be too overwhelming for certain individuals, such as those with
severe trauma history or psychosis. In working with ADHD children, painting or wet clay tin
quickly become an out of control mess if the children have not still adult enough self-
control, patience, and frustration tolerance.
5.2. Media that enhance the Expressive Therapies Continuum
Kagin and Lusebrink (1978) developed information about media variables and
incorporated it into the ETC framework. For example, according to Kagin and Lusebrink
(1978), materials on the kinesthetic/sensory level of the ETC tin can serve as mere facilitators of
action or sensation. Materials on the perceptual pole of the perceptual/affective level
emphasize grade dimensions of the media experience. Experiences in which form arises from a
background, such as contrasting colored papers or drawing media, help contribute to a
perceptual experience. Fluid media, as was mentioned to a higher place, can evoke bear upon. The use of
watercolor paint on wet paper is a rapidly flowing action that frequently induces an affective
experience. Symbolic experiences come from ambiguous forms, such every bit those produced by
sponge painting or blot painting. Ambiguous forms encourage arrangement into recognizable
symbols that tin be imbued with personal meaning (Lusebrink, 1990). Materials that involve
precision, planning, and complicated thought processes evoke cognitive experiences. Pencils
for drawing involve precision, and planning is involved in the cutting and pasting required in
creating a collage.
Other elements to consider in providing art therapy are the size of paper that is used
and individual media preferences. Small paper provides a greater sense of containment
whereas big paper encourages liberty and expansiveness. Private preferences for
different media should also be kept in the art therapist'southward heed. Sensory preferences can be an
important aspect of personal preference, especially in children. Individuals with tactile
defensiveness may be very uncomfortable with clay, play dough, or finger painting.
Conclusion
Art therapy is a human service profession in which fine art materials, the creative process,
and a final fine art product are the vehicles for therapeutic interaction. Whichever art therapy
model is utilized, personal awareness and growth will take place as patients or clients interact
with art yardaterials and learn something almost themselves from the process of using these
materials purposely. Art therapy has several characteristics, including non-verbal
communication, metaphoric significant and human relationship orientation. These features, along with
Expressive Therapies Continuum levels, bring fine art therapy both therapeutic and developmental
functions.
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Effective therapeutic outcomes could be accomplished through the appropriate use of fine art
media, which exist on a continuum from about structured to to the lowest degree structured. Art therapist must
consider the media existence used according to clients' or patients' psychological characteristics,
individual preferences and their Expressive Therapies Continuum levels.
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Received: 20.05.2016.
Information about the writer
Minh-Anh Nguyen – PhD. in Psychology, Fulbright Fiveisiting Scholar, Drexel
Academy, Philadelphia, PA, USA; Head, Inquiry Management & International
Cooperation Office, National College of Didactics in Ho Chi Minh City, Vietnam.
East-mail service: minhanh0401@gmail.com
... Providing children with fine art materials in Art therapy, in a certain caste, will help the Occupational therapist distinguish between children who are prone to feet and those who are more than resilient. Ones with college levels of anxiety usually select more structured media to create visual arts since these materials allow them to feel a greater sense of prophylactic and command during the creative process (Nguyen, 2015). ...
ABSTRACT: This article describes the quality of family advice and the relationship between it and the utilize of technology by family members. The Olson & Barnes scale was used to measure the positive aspects of family communication. The frequency and purpose of technology using was adamant by the one-five Likert scale for smartphones, tablets, and televisions. Participants was 199 people who are parents in families with 1-10 years-old children. The results showed that the apply of technology of families is often, with the main goal of connecting with their family and friends. The quality of family communication is mainly moderate and higher up, and is correlated with some purposes of technology using. The causes of issues of family unit communication and technology using, besides as relating solutions are discussed. TÓM TẮT: Ra đời vào cuối những năm 60 của thế kỷ 20 tại Hoa Kỳ, liệu pháp Nghệ thuật là một chuyên ngành con còn rất mới của Tâm lý học. Và mặc dù còn vay mượn hệ thống cơ sở lý luận của Phân tâm học, sự phát triển nhanh và mạnh của liệu pháp Nghệ thuật đã giúp hệ thống tài liệu và các ứng dụng của nó phát triển cả về chiều rộng lẫn chiều sâu. Bài viết này trình bày một số hiểu biết cơ bản về liệu pháp Nghệ thuật, và các đề xuất ứng dụng của liệu pháp Nghệ thuật khi kết hợp với trị liệu Hoạt động trong việc hỗ trợ trẻ có nhu cầu đặc biệt.
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Yaşanmakta olan süreçte Türkiye gibi kırılgan ekonomilere sahip olan ülkelerin pandemi koşullarıyla birlikte ekonomik ve sosyal kırılganlıkları artmıştır. Çünkü bir yandan üretim faaliyetlerine zorunlu olarak ara verilmiş bir yandan da sağlık alanıyla ilgili sorunlar aciliyet kazanmıştır. Üstelik bu süreç virüsün varyantlarıyla devam etmekte ve birkaç yıl daha dünyanın gündeminde yer edineceğe benzemektedir. Bu zorlayıcı koşullar altında sosyal devleti yeniden ele almak ihtiyacı doğmuştur
- Amel Said Houari
- Ghouti Hadjoui
The contemporary universal challenge of COVID-xix pandemic put more restrictions to disabled people'due south social interaction. This paper reports qualitative findings from a short-term art therapy intervention for a person with Due west Syndrome to examine how art therapy can exist used every bit a coping strategy with the psychological impact of solitude. The data were analysed using Cathy Malchiodi'due south theory of 'art in therapy' and Edith Kramer'due south theory of 'art every bit therapy'. Findings from this study show that the utilise of fine art therapy equally a coping strategy during the solitude period has clear benefits as it promotes emotional well-being and helps to reduce the mobility limitations acquired by disability. The article concludes that art therapy can be used as an alternative style to cope with inability. It aims to positively impact parents and caregivers through highlighting new spots of activity. • Points of interest • The article looks in particular at the real-life experiences of a disabled person during the period of abode-confinement. • Disabled people feel isolation from club and the abode-confinement policies put more than restrictions to their social interaction. • Disabled people need to be involved in activities such as painting, cartoon, colouring, singing and story-telling to better cope with confinement. • This type of research is important because it can assist caregivers improve the quality of personal help during the menstruum of confinement.
Caput Outset, a U.Southward. federally funded program, prepares children for school through early on childhood intervention in social-emotional and cerebral arenas. This commodity describes plan evaluation survey results from the past 5years of an eighteen-twelvemonth collaboration betwixt a university graduate art therapy program and viii Head Kickoff centers. Graduate art therapy students provided weekly art enrichment for children who were referred by their teachers to work on individualized social-emotional goals. End-of-twelvemonth surveys documented the Head Start teachers and coordinators observations of positive social-emotional behavioral changes in the 5 areas of verbal communication, impulse control, interaction with peers, attention span, and self-esteem. The program received high ratings overall and particularly for the graduate art therapy students coordination of interventions.
- D. Henley
This paper focuses on defense mechanisms employed by children with autistic spectrum disorders, and Asperger's syndrome in particular, equally a means of warding off intense anxiety, including the fear of annihilation. This fear arises when the child with an autistic spectrum disorder is faced with the demands of everyday reality. Forced from their private worlds, their defensive responses include delusional fantasy, obsessions, and projective identification. These processes are often manifest in dramatic terms within the course and content of their art. The symbolization of anything fantasy allows the art therapist a dramatic glimpse into the inner mental life of children on the autistic spectrum.
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![Lisa Hinz]()
Expressive Therapies Continuum is distinctive in its awarding as a foundational theory in the field of art therapy. Offset developed by Vija Lusebrink, this theory can be used by persons of any theoretical orientation, and has the power to unite art therapists of varying backgrounds. The information independent in this book demonstrates how the Expressive Therapies Continuum provides a framework for the arrangement of cess information, the formulation of treatment goals, and the planning of art therapy interventions. Information technology provides rich clinical detail and many case examples that enliven the text and promote student engagement and learning. Hinz divides material into three parts. The offset describes the historical roots of the Expressive Therapies Continuum and pays homage to contributions from the fields of art and psychology. The seven component parts of the ETC are examined in the second role, and the last part of the book is dedicated to assessment and clinical applications. This book's easy-to-use format and effectiveness in teaching history and awarding brand it an essential reference for therapists and students.
- Judith A. Rubin
The Art of Art Therapy is written primarily to help art therapists define and so refine a way of thinking virtually their work. This new edition invites the reader to starting time consider closely the master elements of the field of study embodied in its proper name: The Fine art Office and The Therapy Part. The interface helps readers put the 2 together in an integrated, artistic mode, followed by chapters on Applications and Related Service. Included with this edition is a DVD containing two hours of affiliate-related video content.
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![Tami Gavron]()
A bones assumption in psychotherapy with children is that the parent–child relationship is fundamental to the child's evolution. This commodity describes the Joint Painting Process, an art-based assessment for evaluating relationships with respect to the two main developmental tasks of middle childhood: (a) the parent's ability to monitor and supervise the child while experiencing the child's newly developing chapters for self-direction, and (b) the ability of the parent and child to maintain a positive and close human relationship with each other. Case examples illustrate the Joint Painting Process in art therapy and 3 of the scales used to evaluate the results. Articulation painting enables multidimensional expression and representation of implicit characteristics of a relationship that cannot exist expressed verbally.
Source: https://www.researchgate.net/publication/304996838_Art_Therapy_-_A_Review_of_Methodology
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