Pub Date : 2022-10-19DOI: 10.1080/17454832.2022.2128842
Sarit Bar Zaken, Sophie D. Walsh
ABSTRACT Background The study explores the integration that art therapists from a collective society, such as the Arab society in Israel, a minority in a mostly Western society, create between the knowledge they acquire in their training and their fieldwork with members of their own cultural group. Aims The study aims to learn from the art therapists how they experience the two cultures and how they combine them when using art in the therapy they conduct. Method The study consisted of semi-structured in-depth interviews and an analysis of visual images drawn by 13 experienced and student Arab art therapists in Israel. Findings The findings showed that the therapists expressed different levels of integration between their training and their fieldwork: integration, lack of connection, and an attempt to create integration. The therapists whose work resembled integration reported that they choose artistic materials and tools that were suited to the clients’ culture and that they found unique ways to integrate art into the therapy. Findings also showed that the experienced therapists were more likely to create conditions for integration in their work, remember their training as a good and beneficial period compared to the students who experienced their training and their fieldwork as difficult. Conclusions and Implications Learning from therapists who have formed a unique dual-cultural identity can assist cultural minority therapists in their fieldwork to integrate between their studies and the cultural values and meanings of their own society, and to build art therapy curricula more suited to collective cultures. Plain-language summary Art therapists from the Arab society in Israel have to bridge gaps between Arab culture, which is characterised as collective, and Western knowledge, which is characterised as individual, which they acquire in their art therapy training. The current study examines to what extent and how they have been able to integrate between these different cultures, and how such integration manifests in fieldwork with members of their culture. The findings suggest that there were therapists who were not able to integrate the two cultural worlds, mostly students, while others managed various forms of integration. Most of the experienced therapists managed to bridge the gaps, used artistic materials and tools that were adapted to the client’s culture and found unique ways to integrate art into the therapy. In addition, the experienced therapists viewed the training process as a good and beneficial period, while the students experienced difficulties both in training and in the fieldwork. The research can assist therapists and construct curricula for art therapy tailored to collective culture.
{"title":"Dual-cultural identities: An analysis of images by Arab art therapists in Israel","authors":"Sarit Bar Zaken, Sophie D. Walsh","doi":"10.1080/17454832.2022.2128842","DOIUrl":"https://doi.org/10.1080/17454832.2022.2128842","url":null,"abstract":"ABSTRACT Background The study explores the integration that art therapists from a collective society, such as the Arab society in Israel, a minority in a mostly Western society, create between the knowledge they acquire in their training and their fieldwork with members of their own cultural group. Aims The study aims to learn from the art therapists how they experience the two cultures and how they combine them when using art in the therapy they conduct. Method The study consisted of semi-structured in-depth interviews and an analysis of visual images drawn by 13 experienced and student Arab art therapists in Israel. Findings The findings showed that the therapists expressed different levels of integration between their training and their fieldwork: integration, lack of connection, and an attempt to create integration. The therapists whose work resembled integration reported that they choose artistic materials and tools that were suited to the clients’ culture and that they found unique ways to integrate art into the therapy. Findings also showed that the experienced therapists were more likely to create conditions for integration in their work, remember their training as a good and beneficial period compared to the students who experienced their training and their fieldwork as difficult. Conclusions and Implications Learning from therapists who have formed a unique dual-cultural identity can assist cultural minority therapists in their fieldwork to integrate between their studies and the cultural values and meanings of their own society, and to build art therapy curricula more suited to collective cultures. Plain-language summary Art therapists from the Arab society in Israel have to bridge gaps between Arab culture, which is characterised as collective, and Western knowledge, which is characterised as individual, which they acquire in their art therapy training. The current study examines to what extent and how they have been able to integrate between these different cultures, and how such integration manifests in fieldwork with members of their culture. The findings suggest that there were therapists who were not able to integrate the two cultural worlds, mostly students, while others managed various forms of integration. Most of the experienced therapists managed to bridge the gaps, used artistic materials and tools that were adapted to the client’s culture and found unique ways to integrate art into the therapy. In addition, the experienced therapists viewed the training process as a good and beneficial period, while the students experienced difficulties both in training and in the fieldwork. The research can assist therapists and construct curricula for art therapy tailored to collective culture.","PeriodicalId":39969,"journal":{"name":"International Journal of Art Therapy: Inscape","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-10-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44045035","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-10-19DOI: 10.1080/17454832.2022.2127815
Liesbeth Bosgraaf, M. Spreen, Kim Pattiselanno, S. van Hooren
ABSTRACT Background Many childhoods and adolescent psychosocial problems involve dysfunctional emotion regulation. A programme has been developed called Affect regulating Arts Therapies (ArAT) to address emotion regulation problems in children and adolescents. The theoretical concepts and techniques have been described in the ArAT programme, but insight into which specific therapeutic actions contribute to the benefits in clinical practice is still lacking. This study aims to construct a measurement instrument (checklist) to test whether the main therapeutic actions are applied in line with the ArAT programme. Method To develop the measurement instrument, we performed desk research on existing documents and additional literature. In addition, developers were interviewed, and group meetings took place. Finally, to develop the instrument further and investigate the reliability of the measurement instrument, film clips from therapeutic sessions were used and scored by multiple raters. Results Typical therapeutic actions were defined from attachment, trauma, affect-regulating, mentalising, art therapeutic theories and treatments, and could be divided into the three theoretical phases of the ArAT programme: tension regulation, attention regulation, and affect regulation. A first draft item list of 83 items was based on qualitative analysis. In three phases, the draft item list was reduced to 15 items, of which twelve items met reliability criteria. Conclusion The therapeutic core of the ArAT programme lies in enhancing the self-regulatory abilities of children/adolescents through art therapeutic actions that target the regulation of tensions, attention, and affects. The set of 15 items is considered a starting point to further investigate the ArAT programme's treatment integrity. Plain-language summary Many childhoods and adolescent psychosocial problems involve a high sensitivity to emotions and strong emotional reactions to stressful situations, also known as emotion regulation problems. A program has been developed called Affect regulating Arts Therapies (ArAT) to address these problems in children and adolescents. The theory has been described in the ArAT programme, but insight into what the therapist does in this therapy is unclear. This study aimed to create a questionnaire to check whether the main therapeutic actions are applied in line with the ArAT programme. To develop the questionnaire, we searched in existing documents and additional literature. In addition, ArAT developers were interviewed, and group meetings took place. Finally, to develop the questionnaire further and to investigate whether the questionnaire could be completed reliably by different people, film clips from therapeutic sessions were used and scored by multiple people. Typical ArAT therapeutic actions were found in different attachment, trauma, affect-regulating, mentalising, art therapeutic theories and, treatments. They could be divided into the three theoretical phases
{"title":"Measurement and development of art therapeutic actions in the treatment of children and adolescents with psychosocial problems","authors":"Liesbeth Bosgraaf, M. Spreen, Kim Pattiselanno, S. van Hooren","doi":"10.1080/17454832.2022.2127815","DOIUrl":"https://doi.org/10.1080/17454832.2022.2127815","url":null,"abstract":"ABSTRACT Background Many childhoods and adolescent psychosocial problems involve dysfunctional emotion regulation. A programme has been developed called Affect regulating Arts Therapies (ArAT) to address emotion regulation problems in children and adolescents. The theoretical concepts and techniques have been described in the ArAT programme, but insight into which specific therapeutic actions contribute to the benefits in clinical practice is still lacking. This study aims to construct a measurement instrument (checklist) to test whether the main therapeutic actions are applied in line with the ArAT programme. Method To develop the measurement instrument, we performed desk research on existing documents and additional literature. In addition, developers were interviewed, and group meetings took place. Finally, to develop the instrument further and investigate the reliability of the measurement instrument, film clips from therapeutic sessions were used and scored by multiple raters. Results Typical therapeutic actions were defined from attachment, trauma, affect-regulating, mentalising, art therapeutic theories and treatments, and could be divided into the three theoretical phases of the ArAT programme: tension regulation, attention regulation, and affect regulation. A first draft item list of 83 items was based on qualitative analysis. In three phases, the draft item list was reduced to 15 items, of which twelve items met reliability criteria. Conclusion The therapeutic core of the ArAT programme lies in enhancing the self-regulatory abilities of children/adolescents through art therapeutic actions that target the regulation of tensions, attention, and affects. The set of 15 items is considered a starting point to further investigate the ArAT programme's treatment integrity. Plain-language summary Many childhoods and adolescent psychosocial problems involve a high sensitivity to emotions and strong emotional reactions to stressful situations, also known as emotion regulation problems. A program has been developed called Affect regulating Arts Therapies (ArAT) to address these problems in children and adolescents. The theory has been described in the ArAT programme, but insight into what the therapist does in this therapy is unclear. This study aimed to create a questionnaire to check whether the main therapeutic actions are applied in line with the ArAT programme. To develop the questionnaire, we searched in existing documents and additional literature. In addition, ArAT developers were interviewed, and group meetings took place. Finally, to develop the questionnaire further and to investigate whether the questionnaire could be completed reliably by different people, film clips from therapeutic sessions were used and scored by multiple people. Typical ArAT therapeutic actions were found in different attachment, trauma, affect-regulating, mentalising, art therapeutic theories and, treatments. They could be divided into the three theoretical phases","PeriodicalId":39969,"journal":{"name":"International Journal of Art Therapy: Inscape","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-10-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48275643","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-10-02DOI: 10.1080/17454832.2022.2124045
David Rankin
{"title":"‘Untitled’","authors":"David Rankin","doi":"10.1080/17454832.2022.2124045","DOIUrl":"https://doi.org/10.1080/17454832.2022.2124045","url":null,"abstract":"","PeriodicalId":39969,"journal":{"name":"International Journal of Art Therapy: Inscape","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-10-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48696283","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-10-02DOI: 10.1080/17454832.2022.2080842
Jordan S. Potash
ABSTRACT This opinion piece combines scholarly sources and personal experiences to address Jewish art therapists’ presence in the profession. When working with clients, Jewish art therapists may negotiate self-disclosure with addressing stereotypes. Collegial matters reflect societal ways that Jews are misunderstood: negating Jewish suffering, blurring anti-Israel and antisemitism, and conflating Jewish and White. Art therapists can create a more secure place for Jews through reflection, education, and advocacy. Plain-language summary Jewish art therapists have not been offered resources for how their identity impacts client relationships and collegial interactions. This opinion piece reviews the ways that unexamined Jewish misunderstanding and discrimination influence the profession. These include: negotiating client perceptions, underestimating Jewish suffering, confusing criticisms of Israel, and merging Jewishness with Whiteness. Art therapists can counter these influences through reflection, education, and advocacy.
{"title":"Searching for wholeness as a Jewish art therapist","authors":"Jordan S. Potash","doi":"10.1080/17454832.2022.2080842","DOIUrl":"https://doi.org/10.1080/17454832.2022.2080842","url":null,"abstract":"ABSTRACT This opinion piece combines scholarly sources and personal experiences to address Jewish art therapists’ presence in the profession. When working with clients, Jewish art therapists may negotiate self-disclosure with addressing stereotypes. Collegial matters reflect societal ways that Jews are misunderstood: negating Jewish suffering, blurring anti-Israel and antisemitism, and conflating Jewish and White. Art therapists can create a more secure place for Jews through reflection, education, and advocacy. Plain-language summary Jewish art therapists have not been offered resources for how their identity impacts client relationships and collegial interactions. This opinion piece reviews the ways that unexamined Jewish misunderstanding and discrimination influence the profession. These include: negotiating client perceptions, underestimating Jewish suffering, confusing criticisms of Israel, and merging Jewishness with Whiteness. Art therapists can counter these influences through reflection, education, and advocacy.","PeriodicalId":39969,"journal":{"name":"International Journal of Art Therapy: Inscape","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-10-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46093144","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-10-02DOI: 10.1080/17454832.2022.2130381
Kim Valldejuli, Sarah Vollmann
ABSTRACT Background This article describes a remote psychosocial art therapy group for educators in Kenya, led by a Barbadian and an American art therapist, and explores cross-cultural considerations. Context Intervention took place in Kibera, Kenya, an economically disadvantaged urban area, in 2020–2021. Group participants explored experiences of trauma and loss, as illustrated in art therapy case examples, and psychoeducation was provided on arts-based, trauma-informed interventions for children. Approach Group goals were developed in conjunction with the hosting Kenyan NGOs. Outcomes Ongoing adaptations and flexibility were needed due to cross-cultural challenges and the group’s remote status. The art therapists strove to ground themselves in a reflexive, self-aware stance. Conclusions Despite the group’s remote status and varied cultural dilemmas, flexibility and the centring of participant voices promoted group cohesion. Art-making and the group container enabled the expression of shared trauma, loss, faith, and resilience. Group members introduced their own arts traditions into the group, building resilience and taking leadership. Implications for research Cross-cultural art therapy interventions hold promise if group participants are given the space to lead and set their own goals. Future studies should continue to identify challenges that arise in cross-cultural art therapy settings while also examining the long-term effects and efficacy of these interventions. Plain-language summary This article describes a remote art therapy project led in Kenya by a Barbadian and an American art therapist. It was hosted by two Kenyan NGOs, and was implemented by the Red Pencil, an international humanitarian organisation. Through the lens of this experience, the authors explore cross-cultural, remote art therapy practice, and its essential grounding in cultural competence, cultural humility, and the consideration of cross-cultural power dynamics. They share their experiences of implementing a remote art therapy group in Kibera, Kenya, a disadvantaged urban area, with Kenyan educators during the COVID-19 pandemic, and describe their aims to provide psychosocial support while maintaining an ethically informed, collaborative stance that centred participant voices. Flexibility and creativity were paramount to combat technical difficulties and limitations of the virtual space. Group cohesion and safety were fostered as participants adaptively initiated practices of healing and socialisation that were rooted in their own cultural traditions. Art therapy assisted in promoting expression and solidarity, as illustrated in case examples, for group members facing trauma, loss, and strains of the pandemic. Recommended future research includes the ongoing identification of challenges that arise in cross-cultural art therapy settings, and the examination of the long-term effects and efficacy of these interventions.
{"title":"Cross-cultural art therapy in the virtual realm: reimagining cultural proficiency in Kenya","authors":"Kim Valldejuli, Sarah Vollmann","doi":"10.1080/17454832.2022.2130381","DOIUrl":"https://doi.org/10.1080/17454832.2022.2130381","url":null,"abstract":"ABSTRACT Background This article describes a remote psychosocial art therapy group for educators in Kenya, led by a Barbadian and an American art therapist, and explores cross-cultural considerations. Context Intervention took place in Kibera, Kenya, an economically disadvantaged urban area, in 2020–2021. Group participants explored experiences of trauma and loss, as illustrated in art therapy case examples, and psychoeducation was provided on arts-based, trauma-informed interventions for children. Approach Group goals were developed in conjunction with the hosting Kenyan NGOs. Outcomes Ongoing adaptations and flexibility were needed due to cross-cultural challenges and the group’s remote status. The art therapists strove to ground themselves in a reflexive, self-aware stance. Conclusions Despite the group’s remote status and varied cultural dilemmas, flexibility and the centring of participant voices promoted group cohesion. Art-making and the group container enabled the expression of shared trauma, loss, faith, and resilience. Group members introduced their own arts traditions into the group, building resilience and taking leadership. Implications for research Cross-cultural art therapy interventions hold promise if group participants are given the space to lead and set their own goals. Future studies should continue to identify challenges that arise in cross-cultural art therapy settings while also examining the long-term effects and efficacy of these interventions. Plain-language summary This article describes a remote art therapy project led in Kenya by a Barbadian and an American art therapist. It was hosted by two Kenyan NGOs, and was implemented by the Red Pencil, an international humanitarian organisation. Through the lens of this experience, the authors explore cross-cultural, remote art therapy practice, and its essential grounding in cultural competence, cultural humility, and the consideration of cross-cultural power dynamics. They share their experiences of implementing a remote art therapy group in Kibera, Kenya, a disadvantaged urban area, with Kenyan educators during the COVID-19 pandemic, and describe their aims to provide psychosocial support while maintaining an ethically informed, collaborative stance that centred participant voices. Flexibility and creativity were paramount to combat technical difficulties and limitations of the virtual space. Group cohesion and safety were fostered as participants adaptively initiated practices of healing and socialisation that were rooted in their own cultural traditions. Art therapy assisted in promoting expression and solidarity, as illustrated in case examples, for group members facing trauma, loss, and strains of the pandemic. Recommended future research includes the ongoing identification of challenges that arise in cross-cultural art therapy settings, and the examination of the long-term effects and efficacy of these interventions.","PeriodicalId":39969,"journal":{"name":"International Journal of Art Therapy: Inscape","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-10-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43802930","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-10-02DOI: 10.1080/17454832.2022.2124298
Michelle Skop, O. Darewych, Jennifer L. Root, J. Mason
ABSTRACT Background Intimate partner violence (IPV) is one of the major health and human rights issues of our time, affecting one in three women worldwide. Despite IPV’s prevalence, limited research investigates the healing process for survivors or the efficacy of group art therapy (GAT). This study is grounded by a person-centred approach to art therapy and an interpretive method, highlighting the contextualised nature of reality and experience of social phenomena. Aims The aims of this community-based, qualitative study were to explore women IPV survivors’ experiences of GAT and better understand what aspects of GAT contribute to healing. Methods During 2018–2019, six women were interviewed about their experiences of participating in a 12-week GAT program within a Canadian domestic violence prevention agency. The transcribed interviews were analyzed with the method of thematic analysis. Results Four themes emerged from the analysis, and an overarching theme/pattern was identified through interpretation of these themes. The overarching theme was transformative healing, which women appeared to experience by creating connections in a safe space, using visual metaphors in their art-pieces, reclaiming an empowered self, and building resilience. Conclusion This study found that GAT was experienced as providing a relational component to healing and as fostering self-expression, inner and interpersonal growth, and confidence. Implications Art therapists and other mental health practitioners who support survivors may want to consider the unique contributions of art making when designing interventions. Future research should examine which arts-based interventions delivered in a group therapy context can promote IPV survivors’ mental health and wellness. Plain-language summary This article shares information from a qualitative study about group art therapy (GAT) for women survivors of intimate partner violence (IPV). IPV affects one in three women worldwide, including 6–8% of married/cohabiting women in Canada. Despite IPV’s prevalence, limited research investigates the healing process for survivors or the benefits of GAT services and approaches. This study was conducted in partnership with a non-profit organisation serving women survivors in a small Southwestern Ontario municipality. The aims of this study were to explore women IPV survivors’ experiences of GAT within a domestic violence prevention agency, and better understand what aspects of the GAT process, if any, contribute to healing. The study involved interviews and an arts-based research component with six participants who completed the organisation’s 12-week GAT program. Researchers utilised thematic analysis, a method of uncovering key themes across the interviews, to learn how participants experienced the GAT program. Through the process of thematic analysis, the study found that participants appeared to experience transformative healing by creating connections with the therapists, peers, an
{"title":"Exploring intimate partner violence survivors’ experiences with group art therapy","authors":"Michelle Skop, O. Darewych, Jennifer L. Root, J. Mason","doi":"10.1080/17454832.2022.2124298","DOIUrl":"https://doi.org/10.1080/17454832.2022.2124298","url":null,"abstract":"ABSTRACT\u0000 Background Intimate partner violence (IPV) is one of the major health and human rights issues of our time, affecting one in three women worldwide. Despite IPV’s prevalence, limited research investigates the healing process for survivors or the efficacy of group art therapy (GAT). This study is grounded by a person-centred approach to art therapy and an interpretive method, highlighting the contextualised nature of reality and experience of social phenomena. Aims The aims of this community-based, qualitative study were to explore women IPV survivors’ experiences of GAT and better understand what aspects of GAT contribute to healing. Methods During 2018–2019, six women were interviewed about their experiences of participating in a 12-week GAT program within a Canadian domestic violence prevention agency. The transcribed interviews were analyzed with the method of thematic analysis. Results Four themes emerged from the analysis, and an overarching theme/pattern was identified through interpretation of these themes. The overarching theme was transformative healing, which women appeared to experience by creating connections in a safe space, using visual metaphors in their art-pieces, reclaiming an empowered self, and building resilience. Conclusion This study found that GAT was experienced as providing a relational component to healing and as fostering self-expression, inner and interpersonal growth, and confidence. Implications Art therapists and other mental health practitioners who support survivors may want to consider the unique contributions of art making when designing interventions. Future research should examine which arts-based interventions delivered in a group therapy context can promote IPV survivors’ mental health and wellness. Plain-language summary This article shares information from a qualitative study about group art therapy (GAT) for women survivors of intimate partner violence (IPV). IPV affects one in three women worldwide, including 6–8% of married/cohabiting women in Canada. Despite IPV’s prevalence, limited research investigates the healing process for survivors or the benefits of GAT services and approaches. This study was conducted in partnership with a non-profit organisation serving women survivors in a small Southwestern Ontario municipality. The aims of this study were to explore women IPV survivors’ experiences of GAT within a domestic violence prevention agency, and better understand what aspects of the GAT process, if any, contribute to healing. The study involved interviews and an arts-based research component with six participants who completed the organisation’s 12-week GAT program. Researchers utilised thematic analysis, a method of uncovering key themes across the interviews, to learn how participants experienced the GAT program. Through the process of thematic analysis, the study found that participants appeared to experience transformative healing by creating connections with the therapists, peers, an","PeriodicalId":39969,"journal":{"name":"International Journal of Art Therapy: Inscape","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-10-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43942119","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-09-26DOI: 10.1080/17454832.2022.2123011
Meagan Corrado, Denise R. Wolf, Lyndra J. Bills
Structured Abstract Background Trauma can impact an individual's ability to process memories, develop a healthy identity, express emotions, maintain focus, navigate relationships, and achieve goals. Despite the potential negative impacts of trauma, specific psychotherapeutic interventions and trauma-informed care provide opportunities for recovery and healing. Context Creative processes can promote trauma recovery. The literature suggests that creativity can support people in non-verbally processing memories, containing internal chaos, and restoring hope. Approaches Case examples highlight the approaches of an art therapist, social worker, and psychiatrist who introduced arts-based interventions to traumatized clients. The art therapist explores use of an ancient Japanese approach to repairing pottery with a 23-year-old who experienced sexual abuse and neglect. The social worker discusses how Janusian thinking and “creative destruction” inspired collage-making with a 15-year-old who witnessed domestic violence and experienced depressive symptoms. The psychiatrist considers how traumatic memory processing theory informed her structured drawing approach to traumatic grief work with an aggressive 10-year-old. Outcomes Use of arts-based interventions assisted in overcoming client resistance to “talk therapy” approaches, offering a non-verbal, expressive alternative and supporting client progress toward treatment goals. Implications for Practice Reflection on three case vignette led to several practice implications: (1) Professionals should use creative approaches carefully and responsibly, operating within their scope of practice, (2) Professionals should consider how arts-based interventions can strengthen trauma treatment, & (3) Increased provider collaboration and cross-disciplinary dialogue can enhance trauma informed care. Implications for Research More research on the effectiveness of creative approaches in trauma treatment is needed. Plain-language summary Trauma effects people in many ways. Some people have trouble talking about what happened to them. Others have trouble understanding who they are and where they fit in the world. Trauma makes it hard for people to focus, express themselves, and connect with others. Creativity can help people work through their trauma. Art helps people express themselves when they don’t have the words to explain what they have been through. Art helps people feel calmer, stronger, and more hopeful. This article includes three examples of how art helped people work through their trauma. An art therapist talks about how she used broken pottery to help a 23-year-old girl reflect on who she was and where she wanted to go. A social worker talks about how she used paint and ripped pieces of paper to help a 15-year-old girl share her feelings of sadness and hope. A psychiatrist talks about how she helped a 10-year-old boy draw about his mother’s death so that he could get his anger under control. The art therapist, th
{"title":"Trauma triptych: inviting cross-disciplinary collaboration in art therapy, social work, and psychiatry","authors":"Meagan Corrado, Denise R. Wolf, Lyndra J. Bills","doi":"10.1080/17454832.2022.2123011","DOIUrl":"https://doi.org/10.1080/17454832.2022.2123011","url":null,"abstract":"Structured Abstract Background Trauma can impact an individual's ability to process memories, develop a healthy identity, express emotions, maintain focus, navigate relationships, and achieve goals. Despite the potential negative impacts of trauma, specific psychotherapeutic interventions and trauma-informed care provide opportunities for recovery and healing. Context Creative processes can promote trauma recovery. The literature suggests that creativity can support people in non-verbally processing memories, containing internal chaos, and restoring hope. Approaches Case examples highlight the approaches of an art therapist, social worker, and psychiatrist who introduced arts-based interventions to traumatized clients. The art therapist explores use of an ancient Japanese approach to repairing pottery with a 23-year-old who experienced sexual abuse and neglect. The social worker discusses how Janusian thinking and “creative destruction” inspired collage-making with a 15-year-old who witnessed domestic violence and experienced depressive symptoms. The psychiatrist considers how traumatic memory processing theory informed her structured drawing approach to traumatic grief work with an aggressive 10-year-old. Outcomes Use of arts-based interventions assisted in overcoming client resistance to “talk therapy” approaches, offering a non-verbal, expressive alternative and supporting client progress toward treatment goals. Implications for Practice Reflection on three case vignette led to several practice implications: (1) Professionals should use creative approaches carefully and responsibly, operating within their scope of practice, (2) Professionals should consider how arts-based interventions can strengthen trauma treatment, & (3) Increased provider collaboration and cross-disciplinary dialogue can enhance trauma informed care. Implications for Research More research on the effectiveness of creative approaches in trauma treatment is needed. Plain-language summary Trauma effects people in many ways. Some people have trouble talking about what happened to them. Others have trouble understanding who they are and where they fit in the world. Trauma makes it hard for people to focus, express themselves, and connect with others. Creativity can help people work through their trauma. Art helps people express themselves when they don’t have the words to explain what they have been through. Art helps people feel calmer, stronger, and more hopeful. This article includes three examples of how art helped people work through their trauma. An art therapist talks about how she used broken pottery to help a 23-year-old girl reflect on who she was and where she wanted to go. A social worker talks about how she used paint and ripped pieces of paper to help a 15-year-old girl share her feelings of sadness and hope. A psychiatrist talks about how she helped a 10-year-old boy draw about his mother’s death so that he could get his anger under control. The art therapist, th","PeriodicalId":39969,"journal":{"name":"International Journal of Art Therapy: Inscape","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-09-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44701484","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-07-11DOI: 10.1080/17454832.2022.2096087
Maria Fjellfeldt, Dalida Rokka
ABSTRACT Background Art therapy could benefit couples. Aims This article explores art therapy used by couples in relational crisis from a professional perspective. Methods Seven art therapists working in family counselling participated in the qualitative study. Results The results showed that, through non-verbal communication, art making facilitated clarification of situations, handling non-talkable concerns, and added playfulness to the relationship. Three crucial dimensions were identified in the family counselling context: (1) outer frames, i.e. room and material; (2) some special conditions, i.e. that they trusted each other and both wanted to repair their relationship, and the therapist’s ability to assess this; and (3) art work techniques that all couples could master. Conclusions Art therapy could benefit couples in relational crisis, given appropriate prerequisites were ensured. Implications for practice: suitable rooms and appropriate materials have to be arranged if the social services want to offer couples in relational crisis art therapy as a tool in their work to reduce marital distress and prevent separations. Plain-language summary This study explores art therapy used by couples in relational crisis, from the viewpoint of art therapists. Seven art therapists were interviewed. The results showed art therapy could benefit couples in relational crises. Couples could understand each other better and they could get in touch with positive sides of the relationship. Three factors were experienced as important when using art therapy with couples in relational crisis: (1) to have access to an appropriate art therapy room and sufficient art therapy materials, (2) that the persons in the couple wanted to repair their relationship and that they trusted each other, and (3) that art therapists use easy art therapy techniques that all couples could master. Limitations, research recommendations and clinical implications are discussed.
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Pub Date : 2022-07-03DOI: 10.1080/17454832.2022.2102790
Trina Hobson
My paintings introduce a story to the viewer, drawing on invented and imagined contexts, places and connections for characters. The familiar and personally known are frequently merged with a store of characters from art history and literature, inviting the viewer into these sustained environments. Through narratives my painting practice embeds existential issues: feelings of abandonment are juxtaposed with reflectiveness, disjointedness and fragmentation. The process of deconstructing and flattening the images moves them towards the abstracted and ambiguous, forcing the viewer to fill in the spaces with something personal in order to make meaning.
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Pub Date : 2022-07-03DOI: 10.1080/17454832.2022.2095127
Jamie Bird
The image on the front cover of this issue of the International Journal of Art Therapy, ‘A Reflection on Identity’ by Trina Hobson, frames and resonates with the major themes to emerge from the papers within. Reference to reflections, mirrors, and a sensitivity to the relationship between self and others appear throughout this issue, with particular attention to how those qualities shift in a changing world. As the effects of two years of pandemic responses move on, to be replaced by other pressing global events, this issue of the IJAT is a reminder of how art therapy can adapt and adjust itself to meet how the contexts it operates within shift and change. The papers in this issue reflect something of the range of locations and contexts within which art therapists work. They reveal the willingness of art therapists to adapt and embrace new ways of working. They reflect the international aspects of art therapy. Through the research and reflection presented, we observe a willingness to be creative about how art therapy can be thought about and practiced. There are important insights here for practitioners, researchers, and educators. ‘Therapist and client experiences of art therapy in relation to psychosis: a thematic analysis,’ by Helen Barrett, Sue Holttum and Tim Wright, present an approach to doing research and writing about art therapy that centres the voice of clients. This will be an approach familiar to readers of the 2021 special issue of IJAT (Vol 26, Issue 1–2) that focused on the lived experience of clients and the co-production of knowledge within art therapy. Barrett, Holttum and Wright continue the themes introduced in that special issue by framing co-production as a form of triangulation, whereby the perspectives of clients and therapists on the process of art therapy are used to identify overlapping themes. As the authors note, triangulation is an important validating process within qualitative research. It is on a par with the p-value of probability within quantitative research. The researchshows a strong correlation between clients and therapists in how they view the process of art therapy and what they value about that process. What emerges as a key finding is that art making is an important method of communicating embodied and non-verbal thoughts and feelings, which in turn initiates changed perceptions of self and other. As such, this paper offers a useful counterpoint to the doubts about art therapy’s use in relation to psychosis that were raised by the MATISSE trial (Holttum & Huet, 2014). The four-sided reflecting mirror: art therapists’ self-portraits as testimony to coping with challenges of online art therapy, by Liat Sharmi-Zeevi and Aya Katz, also extends the topic of a previous IJAT special issue (Vol 25, issue 4) that was focused upon on-line art therapy. This is a theme that has become relevant to most art therapists since March 2020. Love it, loath it, or ambivalent about it, on-line art therapy is here to stay in
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