Arts in Psychotherapy最新文献

This study was a heuristic self-inquiry of the impact of dance movement therapy (DMT) sessions to process somatic and kinesthetic imagery experienced in Guided Imagery and Music (GIM) sessions. Full transcripts were taken for both DMT and GIM sessions to look for themes and intersections of how dance movement processing may have impacted or influenced the therapeutic integration of GIM sessions. There were four primary themes that emerged for how dance movement processing sessions impacted the researcher’s understanding of GIM sessions. These were reimaging with movement, moving for release of emotion, embodying transpersonal experiences, and movement as aesthetic response. Intentional re-imaging with movement allowed for a continuation of the process begun in GIM sessions, which created opportunities for emotional release and integration of self. Movement was a way of generating artistic response that helped further the researcher’s imaginal world of GIM. Personal reflections and implications for practice are given.

Young individuals with Sickle Cell Disease (SCD) risk severe physical complications and psychosocial stressors. Art therapy is a psychosocial resource offered to youth with SCD in several medical settings across the United States. The purpose of this qualitative study was to better understand art therapy clinical practices with young individuals with SCD in a medical setting through thematic and content analysis. We interviewed 21 art therapists with clinical experience with this population. Data analysis suggests that participants utilize a person-centered approach and consider several factors (e.g., patient assessment, patient-specific factors and potential psychosocial stressors and physical complications) when determining their clinical decisions before and during the art therapy intervention. Clinical goals, art materials, and art therapist engagement mutually influence each other throughout the session. The art therapist remains flexible and adapts their intervention procedures as necessary to meet the in-the-moment needs of the patient. Additionally, data analysis revealed that participants regularly encounter several challenges and barriers related to working with this population and that the race of the art therapist contributes to additional challenges and barriers. This research study serves as an initial step to understanding how art therapists work with young individuals with SCD. Further research involving patients’ voices is necessary to better understand patients’ subjective experiences and the impact of art therapy on young individuals with SCD.

Trauma is a phenomenon that shapes our lives and can manifest in symptoms both overt and hidden. There are myriad causes and activators of trauma: it is pervasive, and therapists can presume that the people we see in sessions have experienced one or more traumas. Across cultures, neurobiological responses to trauma are shared: dysregulation of affect, changes in neurological functioning and processing, and prolonged stress reactions are common outcomes experienced by people from around the world. Intimate partner violence (IPV) and sexual assault (SA) create traumatic symptoms and responses in survivors; these can be debilitating and life-altering events. Music as a therapeutic modality offers survivors a way to process the effects of past and present traumatic events in a way that does not rely solely on cognitive processing or for survivors to relive memories that activate more stress or cause retraumatization. The purpose of this scoping review was to identify salient and current trends in music therapy that integrate a trauma-informed approach to working with women-identifying survivors of IPV and SA. Findings indicate a lack of continuity in theoretical and practical approaches. A theme of resiliency arose, and therapeutic experiences of songwriting, clinical improvisation, and active music making emerged as primary foci for clinical work.

Research shows that while music has potential therapeutic benefits for people coping with substance use disorder (SUD), it also has potential to hinder recovery by inducing substance cravings. This issue is especially important regarding formerly incarcerated individuals (FIIs), for whom the rate of drug-related death due to SUD is particularly high. This qualitative study explored the meaning of a music-based intervention for FIIs and examined its potential benefits and harm. Intervention included a short-term group music intervention for 15 FIIs coping with SUD by employing the musical presentation technique. Interpretative phenomenological analysis of interviews after the intervention yielded three themes: music as a way to recruit inner resources relates to the ability of music to provide strength and hope and the ability of imagination to alleviate loneliness; music as a vehicle for beneficial interpersonal relationships relates to group support and feelings of being understood; self-awareness of potential harm relates to personal music that triggers memories of past substance use and stimulates cravings. This awareness enabled participants to avoid listening to such music. Findings are discussed in light of the recovery capital perspective, with human capital, social capital and cultural capital emerging from the findings. Implications for recovery programs are presented.

Arts and psychomotor therapies are often part of the multidisciplinary treatment for people diagnosed with Personality Disorders (PDs). Drama therapy is aimed at promoting emotion regulation and strengthening of interpersonal skills. The added value of drama therapy has not been sufficiently examined and available studies only provide indirect client reports. Hence, we focus on what people with PDs perceive as effects of drama therapy. This qualitative study followed the Grounded Theory Approach utilising indepth, semi-structured interviews in a natural drama therapy context. Interviews were held with 19 people diagnosed with PDs, who were purposefully sampled. They were recruited from five treatment centres, with five drama therapists involved. Interviews were transcribed verbatim and analysed using a three-step approach: open, axial, and selective coding. Open coding resulted in 93 codes. In the coding process, four overarching themes came to the fore: allowing playfulness and its inherent benefits, connecting the inner and outer emotional world, understanding of maladaptive coping styles, and intrapersonal and interpersonal behavior change. The perceived effects as reported by people diagnosed with PDs provide information about what drama therapy means to them, in their daily lives and which aspects of the treatment were most valuable to them. This study contributes to the necessary underpinning of drama therapy.

Poetry therapy is a psychological intervention that uses poetic language as the core of treatment and has developed into a more mature psychotherapeutic system in Western countries. With a wave of research, the localization of poetry therapy in China has achieved some success in terms of macro-theory, meso-practice and micro-empirical evidence. However, the existing researches still exhibit following issues which mainly refer to the inadequate deep integration and comparison researches. These two issues are respectively caused by the incomplete mechanism of Western poetry therapy and researchers’ insufficient attention on the adaptation of therapeutic content in the process of localization. Consequently, a double-loop model of the mechanism of poetry therapy based on the transformation of metaphorical meaning could help to alleviate the issue of inadequate integrated research. Meanwhile, a followed therapeutic content adjustment which based on treatment culture comparison could benefit to alleviate the issue of inadequate comparative research. These improved schemes could contribute to advancing the localization of poetry therapy in China and provide a reference for how contemporary psychotherapy research can utilize the traditional culture.

Sensory sensitivity and anxiety are often experienced by neurodivergent children. Repetitive physical actions are a common way to self-regulate and reduce anxiety, yet stigma attached to these actions can discourage people with sensory sensitivities from participating in public events such as concerts. Children with sensory sensitivities therefore often miss out on the social benefits of attending live concerts. This paper reports the results of two studies (for each N = 20) investigating whether the predictability/level of internal repetition in classical music can be calming for Australian children aged 5–14 with sensory sensitivities. Study 1 utilized a one-on-one laboratory setting with live piano performance (two low repetition pieces, two high repetition pieces), whereas Study 2 used a group performance setting with a live cello performance (one low repetition piece, one high repetition piece). Proxy measures of anxiety and engagement were completed by parents/carers in both studies, and facial expressions and finger oximeter measures were also captured in Study 1. Across the two studies both music types had a calming effect compared to baseline, with Study 2 also indicating significantly higher interest, involvement, and enjoyment levels for high repetition music. These findings have implications for the use of music for children with sensory sensitivities in arts programming and therapeutic contexts.

Music Performance Anxiety (MPA) is prevalent among amateur and professional musicians. While music therapy has established itself as an effective therapy for reducing anxiety in numerous individuals with varying health issues, in depth research on the potential benefits of music therapy for managing MPA is lacking. This explanatory sequential pilot inquiry with 15 undergraduate music education majors from two large music faculties in Canada assessed the benefits of group music psychotherapy offered for 6 weeks in person or via telehealth on the experience of MPA. Test measures included the Spielberger State and Trait Anxiety Inventories (STAI) pre and post study, a pre and post study questionnaire, pre and post music psychotherapy session Likert scales for anxiety and mood, and a post study interview. Music psychotherapy interventions included breathing exercises, grounding and guided visualizations/meditations, and musical improvisation. Quantitative data, assessed for all participants combined and by group, revealed that anxiety and mood scores on the Likert scale improved after participation in six music psychotherapy sessions, while the STAI scores remained constant pre and post study. Qualitative themes suggest the benefits of music psychotherapy for changed perception and cognitions, sense of support, reduction in symptoms and overall continued and future management of MPA. The results of this study are promising, pointing to music psychotherapy as a potential short-term therapy for MPA symptom management, having practical implications for post-secondary music education and future research.

This phenomenological study explored the clinical experiences of Korean dance movement therapists working with individuals with developmental disabilities, focusing on therapists’ physical, emotional, and professional experiences. Interview data and visual artwork were collected from six dance movement therapists. Qualitative analysis identified 42 subcategories, 13 categories, and 5 themes: (a) body play as a driving force for psychophysical development, (b) limitations in the clinical field due to multiple factors, (c) struggles and threats to professionalism in evaluation, (d) cultivating professionalism and interpersonal support to overcome clinical challenges, and (e) qualities and roles for professional life. This study aimed to provide vivid descriptions conveying the clinical experiences of dance movement therapists working with individuals with developmental disabilities in Korea, where dance/movement therapy continues to grow in clinical and academic fields.

Despite widespread implementation of psychodrama, no empirical studies investigated neural mechanisms of its techniques. One gap lies in the sociocognitive model of role reversal (RR) which posits three processes: empathic role-taking, behavioural reproduction and role feedback. Related studies found deactivations in prefrontal cortex (PFC) during acting tasks, implicating inhibited self-related cognition. However, contrasting studies found PFC activations during role-taking, citing blurred boundaries between self and other that is characteristic of empathy. This study employs fNIRS to uncover neurophysiological correlates of the three processes. Three conditions (Naturalistic Conversation - NC, Role-Play - RP, Role Reversal - RR) were designed to introduce empathic role-taking and behavioural reproduction, and role feedback in transitions from NC to RP, and RP to RR respectively. 41 non-clinical adult dyads underwent all conditions. First-level General Linear Model from fNIRS signals was based on participants’ role-related utterances and compared across conditions. Anterior left PFC activity decreased as participants produced role-related utterances during RP compared to NC, implying lowered recruitment of self-referential networks during empathic role-taking and behavioural reproduction, partially supporting patterns of brain activation that can be mapped to specific sociocognitive processes in RR. Findings partially support the involvement of self-referential networks in specific sociocognitive processes in RR.