Pub Date : 2022-06-13DOI: 10.1080/07421656.2022.2078642
Danielle Moss
Foundations of Art Therapy Supervision: Creating Common Ground for Supervisees and Supervisors is a welcomed addition to the professional body of knowledge in art therapy. Authors Yasmine J. Awais and Daniel Blausey present a timely, comprehensive map (their conceptual term) of the dimensional complexity of art therapy supervision primarily from within a United States-influenced system of helping and training. Because the book is written by art therapists from the perspective of art therapists who have navigated webs of practice, the map is specific to North American art therapists’ supervisory needs. Art therapy supervision is positioned at the center, in valid relation to sister professions of social work and counseling. The authors masterfully map out intricacies that stages of development pose for supervisors and supervisees, and layer reflexivity, cross-cultural awareness, and ethics. Having foundations from this viewpoint is critical because supervision is not just required in art therapy, it is highly influential for art therapy professional identity development. This book is a contemporary bedrock among art therapy supervision informational sources. The book is organized to guide the reader through what to expect from art therapy supervision. Authors clearly explore roles, personality, race, identity, and structural power in the art therapy supervisory relationship. Along the way they provide illustrative vignettes to give examples and complicate perspectives. Additionally, authors suggest applicable art therapy activities to process and reflect on the book’s content and practical strategies for use in supervision. Appendices include sample notes, sample case conceptualization formats, release forms, supervision disclosure worksheet and sample form, and an hour tracking sheet example. The reader is provided with approaches for a multitude of supervision arrangements and scenarios. Modeling the importance of and providing cultural context, the authors share their positionality and identities as those have impacted their professional development and learning, leadership, and relationships in supervision. Readers are invited and encouraged to cultivate their own cultural humility and awareness of how race, privilege, and power are crucial to discuss in supervision. For example, readers are invited to conduct a cultural self-assessment using a specific model which is included and explained. Theoretical frameworks of supervision are described: developmental models, competency-based, orientation-specific models, integrated models, psychodynamic models, cognitive behavioral models, and feminist multicultural supervision to expose the reader to models of supervision that make up the framework for these authors’ approaches. Readers learn about giving and receiving feedback, including conflict management, observation, and case materials like notes and case conceptualizations. The authors offer guidance for becoming an art therapy supervisor, with a
{"title":"A Review of “Foundations of Art Therapy Supervision: Creating Common Ground for Supervisees and Supervisors”","authors":"Danielle Moss","doi":"10.1080/07421656.2022.2078642","DOIUrl":"https://doi.org/10.1080/07421656.2022.2078642","url":null,"abstract":"Foundations of Art Therapy Supervision: Creating Common Ground for Supervisees and Supervisors is a welcomed addition to the professional body of knowledge in art therapy. Authors Yasmine J. Awais and Daniel Blausey present a timely, comprehensive map (their conceptual term) of the dimensional complexity of art therapy supervision primarily from within a United States-influenced system of helping and training. Because the book is written by art therapists from the perspective of art therapists who have navigated webs of practice, the map is specific to North American art therapists’ supervisory needs. Art therapy supervision is positioned at the center, in valid relation to sister professions of social work and counseling. The authors masterfully map out intricacies that stages of development pose for supervisors and supervisees, and layer reflexivity, cross-cultural awareness, and ethics. Having foundations from this viewpoint is critical because supervision is not just required in art therapy, it is highly influential for art therapy professional identity development. This book is a contemporary bedrock among art therapy supervision informational sources. The book is organized to guide the reader through what to expect from art therapy supervision. Authors clearly explore roles, personality, race, identity, and structural power in the art therapy supervisory relationship. Along the way they provide illustrative vignettes to give examples and complicate perspectives. Additionally, authors suggest applicable art therapy activities to process and reflect on the book’s content and practical strategies for use in supervision. Appendices include sample notes, sample case conceptualization formats, release forms, supervision disclosure worksheet and sample form, and an hour tracking sheet example. The reader is provided with approaches for a multitude of supervision arrangements and scenarios. Modeling the importance of and providing cultural context, the authors share their positionality and identities as those have impacted their professional development and learning, leadership, and relationships in supervision. Readers are invited and encouraged to cultivate their own cultural humility and awareness of how race, privilege, and power are crucial to discuss in supervision. For example, readers are invited to conduct a cultural self-assessment using a specific model which is included and explained. Theoretical frameworks of supervision are described: developmental models, competency-based, orientation-specific models, integrated models, psychodynamic models, cognitive behavioral models, and feminist multicultural supervision to expose the reader to models of supervision that make up the framework for these authors’ approaches. Readers learn about giving and receiving feedback, including conflict management, observation, and case materials like notes and case conceptualizations. The authors offer guidance for becoming an art therapy supervisor, with a","PeriodicalId":8492,"journal":{"name":"Art Therapy","volume":"39 1","pages":"164 - 165"},"PeriodicalIF":1.3,"publicationDate":"2022-06-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47684610","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 : 2022-06-03DOI: 10.1080/07421656.2022.2073170
Jennifer G. Albright Knash
consultive, I critically examined myself within my own role as a supervisor. For example, my whiteness is part of my identity and this book provided me with examples of how to meaningfully start conversations as I intersect with supervisees, clients, and the systems within which supervisees are working. As a result, I critiqued my own developmental approach to supervision, which has then increased reflection for practicum students. I offer two of the many gems that resonated for me as I evaluated my roles as supervisee and supervisor. The first helped to shape my trust in group processes of supervision as supervisees who are not actively speaking can be engaged “holders of the space” (p. 176). The second quote, “in supervision, I learned that any commonalities I had with a client, while valid, did not supersede my privilege and power” (p. 129) will undulate in my movement through roles and relationships in supervision as a steady current of critical awareness. This book has guided my facilitation and engagement of reflection and reflexivity, especially when helping supervisees navigate transference, countertransference, and parallel process with awareness of the impact of racial, ethnic, and socio-cultural differences. Readers can also use this text to locate themselves within the supervisory experience and engage in further study from any point. This book is for the benefit of any supervisor or supervisee within the art therapy field.
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Pub Date : 2022-05-20DOI: 10.1080/07421656.2022.2066951
Patricia Marco, R. Redolat
Abstract This case study describes an art therapy intervention with a client diagnosed with Alzheimer's disease who was coping with grief. The course of fifteen sessions included three phases: body awareness, grief emotions, and grief acceptance. The positive changes parallel ways that art therapy can benefit older adults by promoting communication, accessing memories, reconstructing identity, and supporting creativity.
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Pub Date : 2022-04-03DOI: 10.1080/07421656.2022.2080433
Jordan S. Potash
“Be safe” When facilitating an open art therapy studio at a drop-in center for runaway and unhoused young people in Washington D.C., each time someone leaves for the day, we seldom say “goodbye” or “see you later.” Instead, everyone calls out “Be safe.” There’s “be safe” because the streets are rarely secure and the same with some shelters. Even those who are housed navigate constant job searches and food insecurity. During the cold winter months and excruciating summer heat, these realities intensify. There’s “be safe” because there is vulnerability in being young Black and Brown women and men in a racist society. That exposure increases for young people who identify as lesbian, gay, bisexual – and further increases for those who are transgender and gender nonconforming. Youth with psychological trauma, learning and other disabilities face even more difficulties. I have always thanked youth and staff for their well wishes that I also remain safe. For the most part, it only serves to highlight what I already know – that my White skin and my cisgender male identity insulate me from the harassment they receive and systemic obstacles they regularly encounter. This caring phrase also reminds me how I am selectively able to reveal my gay, Jewish, and other invisible identities. And at this point in my life, I am assured with housing and food, which furthers another divide. From March 2020 and since, “be safe” took on additional meanings that started to narrow the gap among our differences. At first, it meant, stay healthy. Do what you can to stay COVID-free. For the young people that I work with, this is no easy task when transitory housing limits social distancing options, the majority of jobs available are those with the highest risk of exposure, and healthcare evidenced underlying deficiencies. As the health pandemic intensified, an endemic condition in the U.S. showed itself – racism and discrimination. There were racial and socioeconomic health disparities (Centers for Disease Control and Prevention, 2021). Asians and Asian Americans were targeted as perpetrators of the virus, as online hate speech became physical violence (Ong, 2021). In the summer, the murder of George Floyd, soon after the high-profile deaths of Ahmaud Arbery and Breonna Taylor, led to the rise of Black Lives Matter demonstrations across the country and around the globe. For clients, “be safe” meant advocating for them to raise their voices while identifying safeguards as their skin color made them targets for roving gangs of White nationalists, neo-Nazis, and fascists who came to Washington D.C. looking for banners to burn and people to beat (Jackman et al., 2020). Even the measures meant to keep the city secure, such as heightened police and military presence, actually did little to make the youth feel protected. As the year came to a close, “be safe” recalled government stability. The heated U.S. Presidential Election exasperated political discord that threatened U.S. democ
“注意安全”在华盛顿特区的一个收容中心为离家出走和无家可归的年轻人提供开放的艺术治疗工作室时，每次有人离开，我们很少说“再见”或“再见”。相反，每个人都在喊“注意安全”。有“要安全”，因为街道很少安全，一些避难所也是如此。即使是那些有住房的人也在不断地找工作和粮食不安全。在寒冷的冬季和酷热的夏季，这些现实更加严重。之所以说“要安全”，是因为在一个种族主义社会中，年轻的黑人和棕色人种男女都很容易受到伤害。对于同性恋和双性恋的年轻人来说，这一风险增加了，而对于变性人和性别不一致的人来说，这一风险进一步增加。有心理创伤、学习和其他障碍的青年面临的困难更大。我一直感谢年轻人和工作人员对我也保持安全的祝福。在很大程度上，这只是为了强调我已经知道的事情——我的白皮肤和我的顺性别男性身份使我免受她们经常受到的骚扰和系统性障碍的影响。这句关怀的话也提醒了我，我是如何有选择地暴露我的同性恋、犹太人和其他看不见的身份的。在我生命的这个阶段，我有住房和食物，这进一步加剧了另一种分歧。从2020年3月起，“安全”被赋予了更多的含义，这开始缩小我们之间的分歧。起初，它的意思是保持健康。尽你所能远离covid - 19。对于与我一起工作的年轻人来说，这不是一件容易的事，因为临时住房限制了社交距离的选择，大多数可用的工作都是那些暴露风险最高的工作，而且医疗保健证明了潜在的缺陷。随着疫情的加剧，美国出现了一种地方病——种族主义和歧视。存在种族和社会经济健康差异(疾病控制和预防中心，2021年)。亚洲人和亚裔美国人成为该病毒的肇事者，因为在线仇恨言论变成了身体暴力(Ong, 2021)。今年夏天，在阿莫德·阿贝里和布里奥娜·泰勒备受瞩目的死亡事件发生后不久，乔治·弗洛伊德被谋杀，导致全国乃至全球范围内“黑人的命也是命”示威活动的兴起。对于客户来说，“安全”意味着提倡他们提高自己的声音，同时确定保护措施，因为他们的肤色使他们成为白人民族主义者、新纳粹分子和法西斯分子的目标，这些人来到华盛顿特区寻找可以焚烧的横幅和可以殴打的人(Jackman et al.， 2020)。即使是为了维护城市安全而采取的措施，比如加强警力和军事部署，实际上也无助于让年轻人感到受到保护。随着这一年的结束，“要安全”唤起了政府的稳定。激烈的美国总统选举加剧了威胁美国民主主义的政治分歧，这种分歧在2020年之后不久以美国国会大厦的叛乱而告终。尽管这三种威胁——健康、歧视和治理——对种族和社会经济地位的影响不成比例，但大多数人都必须对安全有新的认识。在大流行开始时，艺术治疗师开始分享环境卫生和个人卫生的策略，以及与客户会面和虚拟教育学生。随着公共卫生挑战与种族不公正的融合，艺术治疗师也开始调查他们在使不公平制度永久化中的角色，以及如何纠正它们。记录在案的艰苦和痛苦的表达也提供了个体和机构适应并从当前时刻找到意义的复原力和转变的例子(Burke-Garcia等人，2021)。一些人将这些工作方式称为新常态，将大流行之前的时期与当前的疫情后时期区分开来。令人怀疑的是，是否曾经有过一种艺术治疗的正常方法。越来越清楚的是，正常的艺术治疗是基于客户需求、文化价值观、种族社会文化压迫、背景因素以及对帮助和艺术创作的治疗期望的。
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Pub Date : 2022-04-03DOI: 10.1080/07421656.2022.2030190
J. Bianchi, Brittany Benjamin Amante, Chao Zhao, A. Martin, Alejandra Hernandez, Emily Lin
Abstract In March 2020, The Helen B. Landgarten Art Therapy Clinic [HBL ATC] transitioned to art therapy telehealth due to the COVID-19 pandemic. This article presents a qualitative case study focused on emergent themes related to the efficacy and clinical themes as experienced and observed by a group of art therapy graduate student trainees. Findings show that art therapy trainees experienced art therapy telehealth to create opportunities for more diverse populations to access mental health services, provided safe spaces to promote self-expression, created a sense of hope and purpose, and increased connectedness during a crisis.
2020年3月，由于COVID-19大流行，Helen B. Landgarten艺术治疗诊所(HBL ATC)过渡到艺术治疗远程医疗。这篇文章提出了一个定性的案例研究，聚焦于一组艺术治疗研究生实习生所经历和观察到的与疗效和临床主题相关的新兴主题。研究结果表明，艺术治疗学员体验了艺术治疗远程医疗，为更多样化的人群创造了获得心理健康服务的机会，提供了促进自我表达的安全空间，创造了希望和目标感，并在危机期间增加了联系。
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Pub Date : 2022-04-03DOI: 10.1080/07421656.2022.2074782
Danny R. Chen, Sarah Johns, Lucy Romanik, Victoria Glasscock
Abstract Four recent art therapy graduates created reflective artwork to process the COVID-19 pandemic and U.S. antiracist demonstrations and protests. This viewpoint describes their arts-based responses and intersubjective meetings to practice reflexive cultural humility. Key discoveries included themes of power and privilege, vulnerability, and moving toward the discomfort of addressing racism. The processes describe how reflective art-making can cultivate creative spaces for difficult conversations, opportunities for mutual reflection, and foundation sharing with the wider art therapy community to practice.
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Pub Date : 2022-03-14DOI: 10.1080/07421656.2022.2036046
B. Brown
Jackson is clear that cultural humility as a skill set and a state of being may be difficult for some since it is not a “one-size fits all approach” (p. 19). She also recognizes challenges with cultural humility in comparison to like topics. Jackson discusses her early struggles with the word humility, which could diminish the importance of the work of previous art therapy leaders who referred to “cultural competence” (p. 15). By taking the time to explore the historical relevance art therapy has had in cultural awareness, Jackson draws from the work of early pioneer African American art therapists like Georgette Seabrook Powell and Sarah McGee who began the dialogue on the need to adopt different perspectives and methodologies in art therapy. The book is organized into chapters that focus on the elements of cultural humility important for art therapists’ and their practice. Each chapter concludes with a reflective perspective along with an art exercise designed to engage the therapist. Besides Chapter 1 (Introduction), all other chapters describe characteristics – conceptualized as body, eyes, hands, heart, circle, symbols – derived from Jackson’s (2016) doctoral research on the creative responses of the African American art therapists and allied mental health professionals. In Chapter 2, Jackson discusses cultural humility in art therapy research and assessment using the metaphor of body, offering, “a platform of discovery in cultural humility” (p. 54). She begins by exploring the Western influence of knowing, which many see as the origin of art therapy. Knowing, in this way, has been unduly assigned to other cultures, creating a power imbalance. Practitioners can “honor other ways of knowing, leading the therapist to a greater cultural awareness” (p. 39). One example provided is related to the use of language in assessment and how art can provide ways of knowing unlimited by words. Jackson states, “understanding the tacit meanings of art requires the art therapist practicing cultural humility to be attuned to cultural implications” (p. 39). The practice of art and art therapy become the means where tacit knowledge is examined and considered. In Chapter 3, Jackson describes why art therapists should consider cultural variables; self-identity, gender/ sexual orientation, and working in communities with individuals who are unfamiliar with art therapy. The power differential that exists between clients and therapists is another variable often not acknowledged. Having cultural humility means asking “how can I work with the client?” (p. 76). Practicing art therapy in this way can help to eliminate many potential barriers between the client and therapist. Art therapists can examine how their clients experience oppression in society and be reflective in how they themselves hold and wield power and privilege. In Chapter 4, Jackson explores the importance and relevance of community-based art therapy, which has implications for increasing accessibility t
{"title":"Cultural Humility in Art Therapy: Applications for Practice, Research, Social Justice, Self-Care, and Pedagogy","authors":"B. Brown","doi":"10.1080/07421656.2022.2036046","DOIUrl":"https://doi.org/10.1080/07421656.2022.2036046","url":null,"abstract":"Jackson is clear that cultural humility as a skill set and a state of being may be difficult for some since it is not a “one-size fits all approach” (p. 19). She also recognizes challenges with cultural humility in comparison to like topics. Jackson discusses her early struggles with the word humility, which could diminish the importance of the work of previous art therapy leaders who referred to “cultural competence” (p. 15). By taking the time to explore the historical relevance art therapy has had in cultural awareness, Jackson draws from the work of early pioneer African American art therapists like Georgette Seabrook Powell and Sarah McGee who began the dialogue on the need to adopt different perspectives and methodologies in art therapy. The book is organized into chapters that focus on the elements of cultural humility important for art therapists’ and their practice. Each chapter concludes with a reflective perspective along with an art exercise designed to engage the therapist. Besides Chapter 1 (Introduction), all other chapters describe characteristics – conceptualized as body, eyes, hands, heart, circle, symbols – derived from Jackson’s (2016) doctoral research on the creative responses of the African American art therapists and allied mental health professionals. In Chapter 2, Jackson discusses cultural humility in art therapy research and assessment using the metaphor of body, offering, “a platform of discovery in cultural humility” (p. 54). She begins by exploring the Western influence of knowing, which many see as the origin of art therapy. Knowing, in this way, has been unduly assigned to other cultures, creating a power imbalance. Practitioners can “honor other ways of knowing, leading the therapist to a greater cultural awareness” (p. 39). One example provided is related to the use of language in assessment and how art can provide ways of knowing unlimited by words. Jackson states, “understanding the tacit meanings of art requires the art therapist practicing cultural humility to be attuned to cultural implications” (p. 39). The practice of art and art therapy become the means where tacit knowledge is examined and considered. In Chapter 3, Jackson describes why art therapists should consider cultural variables; self-identity, gender/ sexual orientation, and working in communities with individuals who are unfamiliar with art therapy. The power differential that exists between clients and therapists is another variable often not acknowledged. Having cultural humility means asking “how can I work with the client?” (p. 76). Practicing art therapy in this way can help to eliminate many potential barriers between the client and therapist. Art therapists can examine how their clients experience oppression in society and be reflective in how they themselves hold and wield power and privilege. In Chapter 4, Jackson explores the importance and relevance of community-based art therapy, which has implications for increasing accessibility t","PeriodicalId":8492,"journal":{"name":"Art Therapy","volume":"39 1","pages":"114 - 115"},"PeriodicalIF":1.3,"publicationDate":"2022-03-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48655022","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}
Abstract This study compared students with specific learning disorders (SLDs) and attention-deficit/hyperactivity disorder (ADHD) based on the Formal Elements Art Therapy Scale (FEATS). Thirty students with SLDs, 30 students with ADHD, and 30 students without SLDs/ADHD in Babol (Iran) completed the Person Picking an Apple from a Tree (PPAT) assessment. Findings revealed: (1) a significant difference between the SLD and non-SLD/ADHD groups in all elements, except for logic and rotation, (2) a significant difference between the ADHD and non-SLD/ADHD groups in all 14 elements of the scale. The inter-rater scoring correlation was significant and high in 14 elements of the scale, except for realism and person. Accordingly, the PPAT shows potential for application in preliminary identification and on-going evaluation.
{"title":"Comparing the Graphic Performance of Students With and Without SLDs and ADHD Based on FEATS","authors":"Maryam Rajabpour Azizi, Zahra Rajabpour Azizi, Mahnaz Akhavan Tafti, S. Mohamadzadeh","doi":"10.1080/07421656.2022.2030621","DOIUrl":"https://doi.org/10.1080/07421656.2022.2030621","url":null,"abstract":"Abstract This study compared students with specific learning disorders (SLDs) and attention-deficit/hyperactivity disorder (ADHD) based on the Formal Elements Art Therapy Scale (FEATS). Thirty students with SLDs, 30 students with ADHD, and 30 students without SLDs/ADHD in Babol (Iran) completed the Person Picking an Apple from a Tree (PPAT) assessment. Findings revealed: (1) a significant difference between the SLD and non-SLD/ADHD groups in all elements, except for logic and rotation, (2) a significant difference between the ADHD and non-SLD/ADHD groups in all 14 elements of the scale. The inter-rater scoring correlation was significant and high in 14 elements of the scale, except for realism and person. Accordingly, the PPAT shows potential for application in preliminary identification and on-going evaluation.","PeriodicalId":8492,"journal":{"name":"Art Therapy","volume":"39 1","pages":"146 - 156"},"PeriodicalIF":1.3,"publicationDate":"2022-02-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42676369","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 : 2022-02-03DOI: 10.1080/07421656.2021.2024318
Miki Goerdt, A. Resurreccion, Brandi Taziyah, R. Johnson, Sheila Lorenzo de la Peña, Tuesdai Johnson
Abstract In the wake of 2020’s racial tension and civil unrest in the United States, Black, Indigenous, and People of Color (BIPOC) art therapists and graduate students found themselves in need of support from like-minded, social justice-oriented peers. A virtual monthly peer support group called the BIPOC Art Therapists’ Circle was formed. A different member selected reading materials to which members created response art. Outcomes of the Circle include: shared experience of oppression; connection and empowerment through art sharing; safety; emotional support and validation; vulnerability and authenticity; widened perspectives; and motivation to advocate outside of circle meetings. The experience of the BIPOC circle confirms its critical importance as a source of support for BIPOC art therapists and students.
{"title":"BIPOC Art Therapists: Antiracism Work Through the Virtual Circle","authors":"Miki Goerdt, A. Resurreccion, Brandi Taziyah, R. Johnson, Sheila Lorenzo de la Peña, Tuesdai Johnson","doi":"10.1080/07421656.2021.2024318","DOIUrl":"https://doi.org/10.1080/07421656.2021.2024318","url":null,"abstract":"Abstract In the wake of 2020’s racial tension and civil unrest in the United States, Black, Indigenous, and People of Color (BIPOC) art therapists and graduate students found themselves in need of support from like-minded, social justice-oriented peers. A virtual monthly peer support group called the BIPOC Art Therapists’ Circle was formed. A different member selected reading materials to which members created response art. Outcomes of the Circle include: shared experience of oppression; connection and empowerment through art sharing; safety; emotional support and validation; vulnerability and authenticity; widened perspectives; and motivation to advocate outside of circle meetings. The experience of the BIPOC circle confirms its critical importance as a source of support for BIPOC art therapists and students.","PeriodicalId":8492,"journal":{"name":"Art Therapy","volume":"39 1","pages":"103 - 107"},"PeriodicalIF":1.3,"publicationDate":"2022-02-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45068380","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 : 2022-01-04DOI: 10.1080/07421656.2021.2003144
Siri Jakobsson Støre, N. Jakobsson
Abstract This meta-analysis assessed the effectiveness of mandala coloring, compared with free drawing, on state anxiety in adults. A systematic search for studies yielded eight studies, which constituted a total of 578 participants, with 289 in the mandala coloring group and 289 in the free drawing group. The results indicated that coloring mandala designs was not found to reduce state anxiety significantly more than free drawing. Larger effect sizes were found in the studies with lower precision, indicating some evidence of bias toward finding an effect. The findings suggest that mandala coloring and free drawing are equally effective coloring techniques to achieve anxiety reduction. More high-quality studies are warranted before any recommendations can be made with confidence.
{"title":"The Effect of Mandala Coloring on State Anxiety: A Systematic Review and Meta-Analysis","authors":"Siri Jakobsson Støre, N. Jakobsson","doi":"10.1080/07421656.2021.2003144","DOIUrl":"https://doi.org/10.1080/07421656.2021.2003144","url":null,"abstract":"Abstract This meta-analysis assessed the effectiveness of mandala coloring, compared with free drawing, on state anxiety in adults. A systematic search for studies yielded eight studies, which constituted a total of 578 participants, with 289 in the mandala coloring group and 289 in the free drawing group. The results indicated that coloring mandala designs was not found to reduce state anxiety significantly more than free drawing. Larger effect sizes were found in the studies with lower precision, indicating some evidence of bias toward finding an effect. The findings suggest that mandala coloring and free drawing are equally effective coloring techniques to achieve anxiety reduction. More high-quality studies are warranted before any recommendations can be made with confidence.","PeriodicalId":8492,"journal":{"name":"Art Therapy","volume":"39 1","pages":"173 - 181"},"PeriodicalIF":1.3,"publicationDate":"2022-01-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41967838","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}
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