Expressive Art Therapy

Abstract
This study examines the treatment outcome of a 10 weeks dance movement therapy intervention on Quality of life (QOL). The multicentered study used a between subject-design with pre-test, post-test, and six months follow-up test. 162 participants who suffered from stress were randomly assigned to the dance movement therapy treatment group (TG) (n= 97) and the wait-listed control group (WG) (65). The World Health Organization Quality of Life Questionnaire 100 (WHOQOL-100) and Munich Life Dimension List were used in both groups at all three measurement points. Repeated measures ANOVA revealed that dance movement therapy participants in all QOL dimensions always more than the WG. In the short term, they significantly improved in the Psychological domain (p>.001, WHOQOL; p>.01, Munich Life Dimension List), Social relations/life (p>.10, WHOQOL; p>.10, Munich Life Dimension List), Global value (p>.05, WHOQOL), Physical health (p>.05, Munich Life Dimension List), and General life (p>.10, Munich Life Dimension List). In the long term, dance movement therapy significantly enhanced the psychological domain (p>.05, WHOQOL; p>.05, Munich Life Dimension List), Spirituality (p>.10, WHOQOL), and General life (p>.05, Munich Life Dimension List). Dance movement therapy is effective in the short- and long-term to improve QOL.
Keywords: Dance therapy, Dance movement therapy, Research, Quality of Life (QOL), Randomized controlled trial, Treatment outcome and Efficacy.

In this article, the author explores the uses of poetic forms in qualitative health research, analyzing thematically a poem written from a patient's perspective of being treated in an emergency room. From the themes identified, he created two "research poems" using two formal poetic structures: the French-Malaysian pantoum, and the Japanese-inspired American tanka. The author contextualizes this research through an exploration of the arts and poetry as qualitative research.

This Chapter is included in the book  Using The Creative Arts Therapies  for Coping with Loss and Grief, edited by Dr. Dorothy Miraglia and Stephanie Brooke,  published  by Charles Thomas Press, USA 2015. It looks at how the use of stories and the theatre form of Playback Theatre is useful in looking at issues of grief and loss. Cross cultural case examples are included.

http://www.sciencedirect.com/science/article/pii/S0197455609000033
http://hsw.oxfordjournals.org/content/35/3/201.short

This paper describes a theoretical model for conceptualizing art therapy through an integrative multilayered prism that ecologically “layers” dynamic, humanistic, systemic, and social understandings of art, therapy, and people. The result is a systemic but multifaceted model for the teaching of art therapy and the implementation of its theory. The “depth” of art therapy is the multifaceted character of art that enables multiple interpretations simultaneously, concurrent with the eclectic and complex realities of today's clients. This paper presents a theoretical model and also demonstrates different systems of its application.

The way to relate to any artistic material is a kind of creative dialogue, which differs considerably from the interactions that are determined by the rules of the prison. When you work on a thick piece of wood to make a sculpture you go into a dialogue with the material. While you impress the material, the material will make an impression on you: It is hard or soft, its fibres stand up against the blows or receive and absorb them, its internal structure and texture challenges you to work in a certain direction. You cannot do whatever you want; you are forced to respond to the piece.

Eine Kunst, die sich das Soziale zum Thema macht, führt an die Schnittstelle zwischen Kunst und Therapie. Sobald der therapeutische Raum als sozialer Raum ins Spiel kommt, gewinnt therapeutisches Handeln eine sozialkünstlerische Komponente. Der Blick wird über das gestaltete Objekt hinausgeführt auf die Bedingungen der therapeutischen Interaktion als Gegenstand der Gestaltung. Sie wird zum Teil einer Geschichte, an der Patient und Therapeut Anteil haben. Die Geschichten aus der kunsttherapeutischen Praxis, die der Autor erzählt, beschreiben den Raum, in dem zwischen Therapeut und Patient ein Bild entstehen kann: den intermediären Bereich. An die Stelle eines traumatisierenden Bildes vermag ein anderes zu treten: das erlebte Bild, zu dem die Therapie einen neuen, sinnstiftenden Zugang eröffnet.

Art Therapy Theories: A Critical Introduction is an important addition to the relatively small literature that relates to theory in art therapy.  I am thrilled to see that the direction of a search for a multiple theoretical perspective in art therapy, founded by Rubin (2001) and continued by Huss (2012, 2015) in earlier books with the same name, is being embraced by the larger art therapy community. Hopefully additional writers will continue this direction that is sorely lacking in the art therapy literature . The book has a chapter for each of the following theories: Cognitive- behavioral, Psychoanalytic, Analytical gestalt, Person centered, Mindfulness, Integrative therapy, Feminist, and social art therapy . Each chapter presents the theory with a few examples from the literature and from an art therapy case study allegedly using this theory. The chapters are well written.
The importance of this book, and of its above-mentioned predecessors, is that it goes beyond prescribing art therapy activities for static art therapy populations, and enables art therapists to work through a theoretical prism as a base for addressing different interventions, skills and populations. A limitation of this book is that it does not break down these theories into a skill-set for practical art therapy practice, as do the other books in this genre. However, this book does provide a thoughtful introduction to each theory and nicely illustrates each on a general level.
Another limitation of this book is that the word critical is used somewhat loosely and as such is misleading as there is no general explanation of this concept, and of the implication of a critical hermeneutic stand, in relation to all of the theories in the book. A critical stand by definition demands placing theories within their historical context, so as to deconstruct their absolute power (Huss, 2015).
Additionally, a critical stand demands a critique of each of the theories in the book. This is also lacking. Lack of historical and critical context means that each of the theories tends to 'float in space' and is not connected on a time-line or through an organizing critique to the other theories. For example, the book starts with cognitive theory, and then moves on to a dynamic theory.  Gestalt theory is provided as an additional chapter, but is in fact part of a dynamic orientation (Huss, 2015). There also seems to be a confusion between critical theories, and feminist theories, that are not exactly the same thing.
A more effective way to make these theories more accessible but also to maintain a critical stand may have been to outline the impact of the theory on setting, therapists, role, different types of population, and intervention skills, and to state the limitations of each of these theories as well as the advantages. This has been done in former books of this name, but these books are left out of the literature surveyed. This is a strong limitation, in that much of the existing theoretical literature within art therapy is missing (Allen, 1995; Arrington, 2001; Betinsky, 1995; Buchalter, 2009; Burns, 1997; Cambell, 1999; Case& Daly, 1990; Dalley et al., 1993; Edwards, 2001; Emmerson & Smith, 2002; Furth, 1998; Hass-Cohen, 2003, 2008; Huss, 2012, 2015; Kalmanovitz & Loyd, 2005; Kramer, 2000; Landgarten, 2003; Liebman, 2003; Malchiodi, 2007; Mason, 2002; Moon, 2003, 2008; Pink& Kurty, 2004; Riley & Malchiodi, 1994; Robbins, 1994; Skype& Hayle, 1988; Wadeson,2000), to name just a few. This does not build on former work and so tends to weaken the existing theoretical base of art therapy.
However, together with these limitations, as stated, the most important thing is that this book, with its predecessors, encourages art therapy to seriously engage with theory. It is an important part of the revival of the understanding of the importance of theory within art therapy.

Use of the arts in international aid is common in an ad hoc form, but it has not been systematically
theorised or evaluated. The arts have the potential to be a culturally contextualised and
sustainable intervention for adults and children in the aftermath of war or disaster. On the micro
level, the arts are a method to enable the retrieval and reprocessing of traumatic memories that are
often encoded in images rather than in words. On a macro level, they can help to reconstruct a
group narrative of a disaster as well as mobilise people back into control of their lives. This paper
researches a long-term project using arts in Sri Lanka following the civil war and tsunami. A
central finding is the need to understand arts within their cultural context, and their usefulness
in strengthening the voices and problem-solving capacities of the victims of the disaster.

Obwohl für Wissenschaft und Forschung, für Verständigung und Vermittlung unverzichtbar, ist die Sprache im Kontext der künstlerischen Therapien bisher kaum thematisiert worden. Die Frage nach einer angemessenen Sprache erhält in Dokumentationen künstlerisch therapeutischer Praxis insofern eine besondere Bedeutung, als hier der schöpferische Mensch im Mittelpunkt steht. In ihren Beiträgen nähern sich die Autorinnen und Autoren dieses Bandes dem Thema Sprache interdisziplinär und unter wechselnden Blickwinkeln. Sie untersuchen Differenzen und Kongruenzen von sprachlichen und bildnerischen Medien und erkunden Eigenschaften und Gestaltungsmöglichkeiten sprachlicher Darstellung im Bezugsfeld kunsttherapeutischer Praxis und Forschung.

Artist-led doctorates are flourishing across academia, challenging traditional thesis forms.

My project involved creating a vinyl record trilogy with a reflective guide/exegesis. It is an idiosyncratic ethnography of the self, rooted in artistic interventions to chronic health problems.

The work was placed in the growing academic field of ‘autoethnography’.

In the lecture, I unpick my doctorate –The Fragmented Filmmaker - Emancipating The Exhausted Artist, in order to investigate why autoethnography is not only a useful tool in constructing a PhD, but also a framework for practical, political and personal development.

Related Workshop:

The Reflexive Selfie: Create your own ‘Idioholism’

The ‘engine’ of my doctorate was compacted into an artist’s manifesto. Essentially it aimed to assist any practitioner towards ‘triangulating’ accessible art projects in order to have a more fulfilling existence. It was initially created for me, but I always wanted to expand it to others.

I’d like to try something I’ve not done before in the workshop, that is, have participants attempt to apply principles of my framework to their own lives and share the results.

Using elements of the manifesto, this workshop will trial out some of the more accessible techniques. Bring an open mind and construct the beginnings of your own ‘idio-holistic’ map.

Unter den Stichworten Gesundheit, Kunst und Spiritualität behandelt der Vortrag eine Entwicklung in den modernen Gesellschaften, die in den letzten Jahrzehnten eine Kultur der individuellen Gesundheitspflege und Selbstoptimierung hervorgebracht hat, die begleitet wurde von einer Spiritualisierung, Sakralisierung und Ideologisierung therapeutischer Praktiken. Der Vortrag kommentiert diese Entwicklung kritisch und entwirft dagegen ein Therapieverständnis, das die Therapie als einen Ort auffasst, an dem Sinn nicht Ergebnis von Praktiken der Selbstverwirklichung ist, sondern Ergebnis von dialogisch aufeinander bezogenen Handlungen

NAGC ARTS NETWORK MISSION (Proposed revisions pending.)

The Arts Network believes artistic expression is a basic and necessary function of healthy and productive individuals, and that the health and productivity of a society is reflective of the degree of artistic expression among its citizens.

The Arts Network is committed to initiating, developing, and implementing strategies and resources that will support interest and abilities in the Visual and Performing Arts. Specifically, the Network will:

> promote the recognition and acceptance of the arts as an essential area of giftedness;

> encourage research in the area of artistic giftedness and talent;

> illuminate the benefits of integrating meaningful arts experiences into the academic curriculum and provide support for practice;

> increase awareness of artistic expression, aesthetic perception, aesthetic valuing, and aesthetic appreciation; and the psychosocial dimensions associated with educating and caring for artistically gifted and talented individuals; and

> provide practical strategies and resources to foster artistic expression, aesthetic perception, aesthetic valuing, and aesthetic appreciation; and nurture the psychosocial development of artistically gifted and talented individuals.

Editing: Merzili Villanueva & Dr. Kristofer Wiley

Design: Merzili Villanueva

Abstract
This paper proposes a theoretical model for evaluating a single image from a mixed method perspective that integrates basic knowledge bases of art therapy, including quantitative diagnostic tests and qualitative phenomenological information. The illustrative case study points to the theoretical implications of a mixed method evaluation of stressors, stress reactions, and coping or resilience within single drawing analyses, within a specific context.

http://www.sciencedirect.com/science/article/pii/S0197455609000033 http://hsw.oxfordjournals.org/content/35/3/201.short This paper describes a theoretical model for conceptualizing art therapy through an integrative multilayered prism that ecologically “layers” dynamic, humanistic, systemic, and social understandings of art, therapy, and people. The result is a systemic but multifaceted model for the teaching of art therapy and the implementation of its theory. The “depth” of art therapy is the multifaceted character of art that enables multiple interpretations simultaneously, concurrent with the eclectic and complex realities of today's clients. This paper presents a theoretical model and also demonstrates different systems of its application.