Do More Of What Matters

Title: What matters?
Materials: cardstock, pens, markers, stickers, washi tape, etc.
Procedure: Consider the mantra: "Do More of What Matters." Make art related to this quote. If the person is having difficulty identifying what matters, start with values clarification. After directive and processing are completed, put artwork someplace visible as a visual reminder to Do more of what matters.
Processing:
What matters to you?
What are some things that take you away or distract you from working towards what matters?
How can you get intentional about minimizing the effects of these distractions/interruptions?
Are there any small changes you can commit to making that would allow you to focus more on what matters?
Rationale: To create a visual representation of an important abstract concept. To tack down thoughts that have the potential to reorient our lives toward meaning and purpose.
Discussion: Time is a non-renewable resource, and the way we habitually use our time ultimately shapes the life we either get to live or the life we have to live. We want to use our time intentionally and minimize meaningless interruptions and distractions that deplete our time and energy.

Values Clarification Cube

Title: Values Clarification Cube
Materials/Procedure:
1. I begin this directive with a conversation about values. The concept of values can be a tricky one, and pinning down the values that provide our lives with direction and meaning can be difficult. Here are some talking points that seem to be helpful. Most of these points are taken from the work of Russ Harris in his book ACT Made Simple.

• Think of values as "chosen life directions," or a compass that guides you, gives you direction, and keeps you on track to a life filled with meaning and purpose.
• "Values are our heart's deepest desires for the way we want to interact with the world, other people, and ourselves. They're what we want to stand for in life, how we want to behave, what sort of person we want to be, what sort of strengths and qualities we want to develop."
• Values are more about who you are and how you want to show up in this world rather than what you want accomplish.

2. Ask student/client to look at a list of values and identify his or her most important values. There seem to be an infinitesimal number variety of Values lists around. In my office I have 3 a student can choose to use ranging from minimal choices to a list 400! Some students are overwhelmed at the thought of so many choices, while others prefer to take a very detailed approach. Here is a picture of the list students usually choose.

3. Print copies of a cube template, such as this one that found on a kid's crafting website called First Palette. Cube Template I find it helpful to print several copies at a time for future use and use white 8.5"x11" cardstock.

 

4. Different students have approached the next step of this directive in different ways, and I always encourage modifying the directive to make it feel most interesting and inspiring to that particular person. I usually use my own cube as an example to make the objective more clear. On my cube, each side represents a value that I'm trying to grow in my life. And then there is one side that represents the values that I hold that are, in most circumstances, very natural for me-- values that make me who I am, and that I couldn't really get rid of even if I tried. It's nice to have a space for these values to land.
So, the student will cut out the cube template, and add words images, lines, shapes, and color to concretize the value that is being represented. I usually have scissors, glue, markers, colored pencils, stamps, stickers, and a box of small scraps available.
This creative part of the process really helps the person  feel the value. It becomes more than just a word... suddenly it has added symbolism, meaning, and energy.
After the student is finished, he or she can fold the cube on the lines provides by the template, add glue to the little flaps, and put it all together.  It's completed form may look something like this!

Rationale: When we are clear on our values-- what brings our lives meaning and purpose, it can give us the oomph we need to make difficult decision, change long-lived habits, and try on new behaviors. And having a creative, visual representation of these identified values, is an on-going inspiration -- a reminder of what matters SO MUCH that we will take risks and wade through uncomfortable, uncertain waters just to walk a little closer...

Adaptations: If you want to encourage a deeper exploration of potential obstacles that may surface when trying to live in alignment with identified values, you can address those obstacles on the inside of the box before folding and adding glue. You can also include on your cube ways in which you plan to address the obstacles. For example, one side of my cube says, "Gratitude." In smaller writing, I wrote, "daily practice," and "accessible notebook that I love-- record imperfectly and spontaneously." These notes-to-self are a response to "Threats to Gratitude," which for me include getting out of the habit/practice and lack of effort.

Reflection: I made my first values cube on the porch of a beautiful retreat center in Indianapolis with my dear friend, Trish. The process was enjoyable and engaging, and when I was finished, I felt like I had a much clearer understanding of what I'm doing in life, and why I'm doing it.
So many of my students come to my office seeking that clarity, and this Values Cube can be a helpful tool to move in that direction.

Depicting confusing emotions

Background/Rationale: Today I met with a bright young woman who is experiencing feelings of depression. Today was our third meeting, and she has already mentioned how she doesn't like to talk about herself or her feelings.
This woman, who I will refer to as M, sat down and with some prompting, began to explore the feelings of heaviness that she used to describe her emotional state over the past few days. She thoughtfully tried to explain what heaviness feels like-- not exactly sad, not exactly upset, not angry or hurt.
I explained to M that sometimes when we are experiencing a confusing emotion, that it can be helpful to depict the feeling using line, shape, and color -- that images are more primal than words, and that images can often express nuances in a way that words cannot. Additionally, representing emotions visually offers the art-maker the opportunity to de-fuse from thoughts and feelings, and look at these thoughts and feelings from a witness level consciousness. Or in other words, art can help us to look at our thoughts and emotions rather than through them.
Materials/Procedure: M was a willing participant, and chose large white paper and markers. M began her depiction with vibrantly colored wavy lines loosely framing the picture. M then used a gray marker to draw a large gray dot in the center of the page. She then used gray, brown, and black to chaotically surround the dot, in way that closely resembled a bird's nest. M continued to frame and reframe the "nest" with more colors until most of the page was filled with wavy lines and the "nest." M came to an unprompted stopping point and deemed her depiction as complete.

Processing: M and I began processing her artwork. We started by noticing the starting point of her process-- the colorful border lines. M initially referred to these lines as life, happiness, positive energy. M noticed how these lines mostly did not reach the center of the picture, or "the nest." There were some points of brief intersection. M reflected on this observation, stating that she ventures out from the center, and others briefly venture in towards the center, but those moments are fleeting and unpredictable.
We pondered the curiosity of whether or not the darker colors had to have a place in the picture. M affirmed that they did need to have a place in the picture, but she wishes they carried less weight and prominence. M then created a second picture depicting a time in her life when she felt lighter and happier. This second picture showed wavy lines in a variety of colors all moving inward and outward, without the barrier of the nest to contend with. This depiction lacked an obvious, concrete center, although an implied center was evident. M stated that she was much less "to herself" during this time, that others were flowing through the center regularly and without obstruction.

I was reluctant to push my "nest" interpretation onto M, and disclosed this concern to her. However, "the nest" interpretation seemed to resonate with M, and we used this language as the basis for a deeper metaphorical exploration. I asked M what is the purpose of a nest. Safety? Protection? A home? Student responded that her depicted nest was not her home. Her home actually existed in the border of bright and cheerful border. M identified her mother, father, brother, and her dog as separate lines that worked together to form the border. M stated, through tears, that she never feels dark and heavy at home with her family.
This observation gave us the opportunity to look at M's relationships on campus in comparison to her relationships at home. And offered the question, how can we integrate important aspects of home into M so that she can carry them with her on her journey to adulthood.
Comparing the two pieces of artwork also created space to explore the concept of vulnerability and M's own sense of openness toward others who seem to want to have a deeper, more thoughtful relationship with her.
Conclusion:
I asked M if she would like to take home her artwork or if she would like for me to keep it safe in my office. She told me that she wants to revisit this artwork in therapy because it offers a helpful tool to explore, articulate, and understand her emotions with more clarity.

Back to the Basics

I enjoy my job so much more when I'm using art with my students. Art therapy offers new ways of looking at problems and solutions, and it feels more interesting, more helpful. But for some reason, sometimes I fall out of practice. I begin encouraging my students to sit in the comfy chair rather than at the art-making table. I think it feels safer to me, and I think it protects my students from having to get out of their comfort zone and try something new.

But recently, I started Brene Brown's Living Brave Semester. And one of the "Arenas," (Arena = area of life where you want to practice courage and authenticity) that I identified was: I want to be a braver counselor. A brave counselor is one who is present, truthful, and willing to use her gifts, skills, and wisdom in order to help students foster necessary acceptance and change.

How does a person get back in the arena once she has left it? Perhaps the answer is returning to the fundamentals and beginning to put them into practice.

What are the "Basics" of art therapy?

• Trusting the process and believing that the Process will always show up - no matter what
• Owning the belief that art-making is meaning-making, and that we are here to create and contribute
• Meeting the student where he is
• Creating a nonjudgmental space where "failure" becomes a valued part of the learning process
• Having art supplies prepared and available
• Practicing the willingness to take small risks through our art-making-- in the hope that we will develop a friendly attitude toward playful exploration and risk-taking in our daily lives
• Recalling some of the essential Art Therapy intervention strategies and regarding these strategies as a starting place or fodder for intuitive modification.

1. Mad, Sad, Glad, Scared
2. Create a Safe Place
3. Trauma Tree
4. Creative Lifelines
5. Scribble Chase
6. Mandalas
7. Magazine Photo Collage
8. Family Sculpture
9. Person-in-Tree Assessment
10. How I see myself/ How others see me
11. Bridging Emotions
12. Bridge Drawing
13. Haptic Self Symbol
14. Art Journaling
15. Artful acts of kindness

What other Art Therapy "Basics" would you include?

In making the list of some of what I consider to be essential intervention strategies, I realize I haven't done formal posts on some of these directives. It's good to have some immediate inspiration for future posts!

Begin Again

Greetings! For a couple of years, I switched The Art Therapy Catablog to private after receiving some criticism by one of the "greats" in the field. In retrospect, I think it's fair to say that my reaction was a severe over-reaction, born of my fear of being visible and vulnerable-- of"being in the arena."

The sad effect of my public blog going private was that I stopped contributing to it. I love having a space to record what I'm learning, and I love sharing my thoughts and ideas with interested readers. Being in the field of counseling and art therapy can be difficult and discouraging at times, and we need one another to cope, to grow, to inspire, to connect.

So, with that-- I'm re-establishing this blog as a place to learn and grow and share together. Welcome!

Play-dough recipe

Title: Making Play-dough
Materials/Procedure: In a large bowl, mix 1 cup flour, 1/2 cup salt, 6-7 Tablespoons water, 1 Tablespoon vegetable/canola oil, 1-2 packets of kool-aid and/or 6-7 drops essential oil (i.e. lavender, peppermint, lemongrass, etc.). Add glitter optionally. Mix thoroughly, using hands. When finished playing with dough, store in an air-tight container or bag and keep refrigerated.
Rationale: Making play-dough is an enjoyable, non-threatening activity that creates an inexpensive art material that can be used many times. Some individuals with sensory integration issues or tactile aversions can benefit from a positive exposure to a new material. Clinician may gain useful information by observing the individual's reaction to new material. For example, individual may approach messy material easily and comfortably, or he/she may approach material more cautiously. Individuals may use finished product in various ways: to make sculptures of interest, as a "stress ball," as an object to throw forcefully, etc. Use of finished product may also help clinician to gain insight into client's behavior and/or thought patterns, as well as create a starting point for dialogue.
Adaptations: Use aromatherapy essential oils to work toward different types of emotional or mental goals. For example, lavender is often used to promote relaxation. Peppermint can be used to promote mental focus. Lemongrass or other citrus oils may be used to decrease level of depression.
Offer different colors of kool-aid and attach an intention to certain color. For example, a person may relate the color blue with serenity or peace, so that person may attach the intention or affirmation, "I always have access to feelings of peacefulness" to handling play-dough.
Reflection: I have made this play-dough recipe with several children. In each case, child was easily engaged in dough-making. Each child's comfort level with the dough-making process was interesting to observe. One boy was reluctant to touch dough, and waited until dough was much more solid before putting his hands into mixture. The experience was positive for the boy and his reluctance quickly faded, which gave me something concrete to notice and praise Each child enjoyed having play-dough to keep.

Pillows

Title: Pillows
Source: Valerie Milholland, ATR
Materials: Paper, pencil, pre-cut rectangles of polyester fabric, needles, thread, batting (stuffing), crayola fabric crayons, iron
Procedure: 1. Ask the participant to draw his/her name in big letters onto a piece of piece of paper using a pencil. 2. Flip the paper over and decorate the name (that now appears to be backwards) using fabric crayons. 3. Place the crayoned sided of the paper on top of the fabric and run a hot iron over the back of the page, thus transferring the name onto the fabric. 4. Once the fabric is cool, pair with another rectangle of fabric, with the design facing inward. 5.Work with the participant to stitch 3 3/4 sides of the pillow. (Leave enough space unstitched to fit a hand inside.) 6.Put hand into the unstitched gap and grab hold of the fabric, pulling it out through the hole and turning the pillow inside out. (The design should now be on the outside.) 7. Insert stuffing through the gap that is unstitched. 8. Sew the gap closed.
Rationale: Valerie has several years experience of working with children in residential settings. She often uses this directive as an opening activity for a number of reasons: The close proximity required during the stitching provides an opportunity to build rapport and demonstrate that she is a safe and trustworthy person. Pillow-making is a functional art-making intervention that reaches the participant on a survival level, as well as on a creative level. The resulting product is something comfortable and personalized. Pillow-making would be categorized as an "art as therapy" intervention, focusing on the process and potential for creative flow.