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This exciting text is a comprehensive work that examines the use of art, play, music, dance/movement, and drama in different cultures and with diverse client populations. The editors’ primary purpose is to explore how the creative therapies can be implemented in diverse cultures and in different countries. Renowned, well-credentialed, and professional creative arts therapists in the areas of art, play, music, dance/movement, and drama helped write this collection. Examples include the use of art in working with refugee children in Australia and with Chinese-American children; shared experiences in using dance and movement with Arabic women in Jerusalem, indigenous Inner Mongolia, and with survivors of torture. Other chapters offer stories of using drama in the Netherlands, music and other creative arts in China, play therapy in Appalachia and with different races. Additionally, there are chapters on working with children with learning disabilities as well as the use of creative arts in supervision. Some of the chapters are beautifully complimented with photographs of client works of art or play. The text provides a rich tapestry on how the creative therapies can be used across cultures for issues such as depression and trauma to name a few. Of special interest are the chapters on supervision. Not only a tool for creative art therapists, this informative book will be of special interest to educators, students, therapists, as well as people working in other parts of the world or with culturally diverse clients.
Professionals engaged in art therapy discuss aspects of practice which are affected by an environment of increasing cultural diversity. Some contributions examine problems faced by members of ethnic minorities who are caught between assertion of their cultural identities and assimilation into a different social milieu.
This third edition of Current Approaches in Drama Therapy offers a revised and updated comprehensive compilation of the primary drama therapy methods and models that are being utilized and taught in the United States and Canada. Two new approaches have been added, Insight Improvisation by Joel Gluck, and the Miss Kendra Program by David Read Johnson, Nisha Sajnani, Christine Mayor, and Cat Davis, as well as an established but not previously recognized approach in the field, Autobiographical Therapeutic Performance, by Susana Pendzik. The book begins with an updated chapter on the development of the profession of drama therapy in North America, followed by a chapter on the current state of the field written by the editors and Jason Butler. Section II includes the 13 drama therapy approaches, and Section III includes the three related disciplines of Psychodrama and Sociodrama, Playback Theatre, and Theatre of the Oppressed that have been particularly influential to drama therapists. This highly informative and indispensable volume is structured for drama therapy training programs. It will continue to be useful as a basic text of drama therapy for both students and seasoned practitioners, including mental health professionals (such as counselors, clinical social workers, psychologists, creative arts therapists, occupational therapists), theater and drama teachers, school counselors, and organizational development consultants.
This is not a "how-to" book but rather about the "experience" of becoming an art therapist. The text covers issues in supervision and mentorship, contains stories by art therapy students about what they are thinking and feeling, and letters to young art therapists by highly regarded professionals in the field. The reader has the advantage of ideas and responses from both a student art therapist and an art therapist with many years' experience and is clearly intended for students aiming for a career. Chapter 1 is about students as a secret society and the importance of student colleagues. The second chapter is a short history of art therapy education, while Chapter 3 is a review of some literature potentially useful to art therapy students. Chapter 4 represents Kim Newall's journal with imagery of her internship experience as a third-year graduate student in a community clinic. For Chapter 5, art therapy graduate students in various geographical sections of the United States describe their worst and best student experiences and their most important role models. Chapter 6 is about mentoring–what it is and why an art therapist should have a mentor. In Chapter 7, twelve senior art therapists, each with many years' experience, write a personal letter to the coming generations of art therapists. The letter writers are all pioneers in the field. Finally, Chapter 8 offers a selected art therapy bibliography. This extraordinary book conveys the message "you can do this and it's worth it." The text is a much needed contribution to the field of art therapy. Students for many semesters to come will be reassured, validated, and informed. Experienced art therapists will ford valuable perspectives on supervision, teaching, and mentorship.
Intercultural Arts Therapies Research: Issues and methodologies is the first overarching study on intercultural practice and research models in the arts therapies. It provides a new departure from traditional arts therapies education and research in that it focuses on research studies only. Written by international experts in the field, the book offers a selection of diverse research undertaken within four arts therapies modalities: art, dance, drama and music. Drawing on methodologies such as ethnography, phenomenology and case study research, chapters focus on cultural identity, the transposition of cultural practices to a different context, and the implications of different languages for arts therapies and disability culture. With reference to primary research, it aims to help practitioners and students to develop further research, by making the mechanics of the research process explicit and transparent. Intercultural Arts Therapies Research will appeal to arts therapists, psychological therapy practitioners, postgraduate students and other health and social care professionals. It will also be of interest to students, artists, teachers, social workers and those working for international aid agencies.
This book demonstrates the use of dance/movement therapy to directly counteract social injustices and promote healing in international settings. It also demonstrates the potential for dance/movement therapy in prevention and wellness in clinical and community settings. The use of improvisational and creative dance is presented throughout the book as a tremendously clear, strong and powerful inroad to healing in every setting. The chapters in this book do not directly address social justice in dance/movement therapy, but rather provide provoking social justice related positions. This call for a provoking re-examination of the definition of dance/movement therapy is fitting as we—as a community—challenge our identity as dance/movement therapists, educators, supervisors and as human beings who have internalized oppression in various forms through our many identifiers and the unique intersections of those identifiers. The editors and authors posit that social justice cannot be fully addressed by focusing solely on the social issues. Rather, we must be aware of where and how the social issues come into the individual(s), the setting, and the therapy process itself. Chapter “‘Breaking Free': One Adolescent Woman's Recovery from Dating Violence Through Creative Dance" is available open access under a Creative Commons Attribution 4.0 International license via link.springer.com.
Whether working in urban areas with high levels of cultural diversity, providing art therapy to 'unique' populations such as prisoners or asylums seekers, or introducing art therapy programs to parts of the world in which it is not yet established, it is essential that therapists understand the importance of practicing in a culturally sensitive manner. This comprehensive book considers how culture impacts the practice of art therapy in a variety of settings. With contributions from experienced art therapists who have worked in diverse environments, this book attempts to understand and highlight the specific cultural, subcultural and ethnic influences that inform art therapy treatment. It addresses variable factors including setting, population, environment and ability, and how they influence art therapy approaches. It also considers how cultural differences can impact physical art making through choices of color, symbol and metaphor. Each chapter provides a framework showing how art therapy techniques have been used in order to successfully work with distinct populations. This book will provide practitioners with ideas for how to adapt art therapy training and approaches to suit the setting and meet the needs of a vast range of populations. Full of informative case studies, this book will be invaluable reading for art therapists and students of art therapy.
Art Therapy Practices for Resilient Youth highlights the paradigm shift to treating children and adolescents as "at-promise" rather than "at-risk." By utilizing a strength-based model that moves in opposition to pathology, this volume presents a client-allied modality wherein youth are given the opportunity to express emotions that can be difficult to convey using words. Working internationally with diverse groups of young people grappling with various forms of trauma, 30 contributing therapists share their processes, informed by current understandings of neurobiology, attachment theory, and developmental psychology. In addition to guiding principles and real-world examples, also included are practical directives, strategies, and applications. Together, this compilation highlights the promise of healing through the creative arts in the face of oppression.
Therapeutic Spiral Model (TSM) psychodrama is an innovative three stage system of clinically modified psychodrama to treat trauma safely and effectively. This book presents the theoretical evolution of the Therapeutic Spiral Model from a Western model of early trauma-informed therapy to the worldwide system of experiential change that it is today. This book demonstrates the anchor of classical psychodrama theory and methods modified by clinical observations and awareness of current theories about trauma and how it effects the brain, See the evolution from 1992 to its present structures. It provides an accessible practice manual of using TSM psychodrama to promote trauma recovery in many cultures, countries, languages and settings. It presents a unique clinical map for intra-psychic experiential trauma therapy connecting classical psychodrama to TSM psychodrama. It demonstrates psychological concepts like projective identification and information from neurobiology for trauma repair in individual and group settings with action methods. The book shows easy-to-understand visual images such as trauma bubbles, therapeutic spirals and the autonomous healing center to help communicate internal states of spontaneity. The authors draw on their own rich experiences teaching TSM psychodrama in the global community and share stories of people’s recovery around the world. The audience for this publication includes trainers, practitioners, psychotherapists, trauma workers, and researchers working in a broad array of disciplines and human services.
In the last 30 years, a distinctive intersection between disability studies – including disability rights advocacy, disability rights activism, and disability law – and disability arts, culture, and media studies has developed. The two fields have worked in tandem to offer critique of representations of disability in dominant cultural systems, institutions, discourses, and architecture, and develop provocative new representations of what it means to be disabled. Divided into 5 sections: Disability, Identity, and Representation Inclusion, Wellbeing, and Whole-of-life Experience Access, Artistry, and Audiences Practices, Politics and the Public Sphere Activism, Adaptation, and Alternative Futures this handbook brings disability arts, disability culture, and disability media studies – traditionally treated separately in publications in the field to date – together for the first time. It provides scholars, graduate students, upper level undergraduate students, and others interested in the disability rights agenda with a broad-based, practical and accessible introduction to key debates in the field of disability art, culture, and media studies. An internationally recognised selection of authors from around the world come together to articulate the theories, issues, interests, and practices that have come to define the field. Most critically, this book includes commentaries that forecast the pressing present and future concerns for the field as scholars, advocates, activists, and artists work to make a more inclusive society a reality.