Edith Wallace:
Jungian
Art as Psychotherapy
Look, Notice, See (to process artwork)
Tissue Paper Collage (lab card below)
“Play seriously and work playfully.” – edith wallace
Tissue Paper Collage: Edith Wallace
ETC: Cognitive, Symbolic, Affective
MDV: Fluid, Complex, Unstructured
Materials
30 colors of tissue paper, sheets of white tagboard, or other firm paper/cardboard product cut into 11”x14”pieces, liquid medium gloss varnish, and 1”paint brushes
Methods
1. Choose whatever colors of tissue paper you prefer.
2. Find a comfortable place to work.
3. Mix up your varnish and begin to tear and paste your tissue on the tagboard. *Do not use known forms. Do not scissors or other tools. Do not interpret your work as you create. Do work in silence. Do allow whatever arises to appear spontaneously. Do play like a child.
4. Once finished with one collage, label, number, and date the piece on the back. Also make an arrow to indicate the direction in which it was created.
5. Create up to twenty collages. It is not necessary to make twenty.
6. Let collage(s) dry.
7. Sit alone (processing images alone is necessary because we are highly impressionable beings) and listen to what your image is trying to tell you. Notice its color, form, pattern, etc. Dialogue with the image.
8. Reflect on what the image is telling you, with regard to relationship with self, family, and culture, from personal meaning to archetypal significance. Make notes. * If you are stuck, name each collage and attempt to proceed.
9. Show your collage(s) to your fellow group members. Group members are asked to listen, encourage, and question, without imposing their own interpretations of the collage’s meaning.
10. If a particular collage is ambiguous or confusing, represent it in movement or dance. The movement should reflect your perception of the lines in the collage.
11. Meditate on your image.
Rationale: Torn tissue paper collage is a non-threatening medium through which to explore the unconscious. Creating images in this spontaneous fashion encourages dialogue between the conscious and the unconscious. Once an image is manifested, many processing questions and considerations may follow. Once these questions are considered and the answers are articulated, then the message from the unconscious is made fully conscious, and the problematic behavior or thought can be modified.
Who Am I?
Who Am I?: adapted from The Creative Journal for Children by Cathy Malchiodi
Materials: paper of any size and variety of drawing utensils
Procedure: Ask client to draw a picture of him/herself. If client feels threatened by the task of creating a realistic self-portrait, rephrase the directive to use only line, shape, and color. Once the drawing is completed, ask the client to write a short poem entitled "I am..." Encourage client to use descriptive words to explain who he/she is.
Rationale: This intervention helps the client solidify his/her perception of self. The therapist is able to increase an understanding of the client's perception of self and identify faulty cognitions. Often times, the client's perception of self is a reflection of his or her environment and supports.
Adaptations: If client is unable or unwilling to write the reflective poem, the client can list descriptors. This intervention may precede other interventions such as: How I see myself, How others see me or Affirmation dolls.
Materials: paper of any size and variety of drawing utensils
Procedure: Ask client to draw a picture of him/herself. If client feels threatened by the task of creating a realistic self-portrait, rephrase the directive to use only line, shape, and color. Once the drawing is completed, ask the client to write a short poem entitled "I am..." Encourage client to use descriptive words to explain who he/she is.
Rationale: This intervention helps the client solidify his/her perception of self. The therapist is able to increase an understanding of the client's perception of self and identify faulty cognitions. Often times, the client's perception of self is a reflection of his or her environment and supports.
Adaptations: If client is unable or unwilling to write the reflective poem, the client can list descriptors. This intervention may precede other interventions such as: How I see myself, How others see me or Affirmation dolls.
Emotional Freedom Technique
Book: Good Bye Ouchies and Grouchies Hello Happy Feelings by Lynne Namka, Ed.D.
Emotional Freedom Technique (EFT) combines the concepts of Cognitive Behavioral psychology and acupressure that you do on yourself. The acupressure aspect of this technique is based on the belief that we are electrical beings that need to stay balanced. Tapping on certain pressure points can help to release energy that gets stuck and out of balance. The cognitive behavioral aspect helps to recognize the problem, own the problem, and remind yourself that you are still a good person/ more than the sum of your parts/ learn from mistakes/can do better next time.
The EFT Short cut: Say your problem and something positive. Take a big breath and blow it out. Then tap gently on these points of your body:
1. Between the inside of your eyebrows with your fingers.
2. Outside the corners of your eyes.
3. Under your eyes on your cheekbones.
4. Under your nose.
5. Under your bottom lip.
6. On your chest, just below your throat outside your collarbones.
7. Go straight down several inches and tap on your rib cage just above the last rib.
8. Below your armpit on the side of your body down several inches.
Don't worry if you don't get the exact point. If you feel a tender spot, give it special attention. Continue tapping until the problem gets smaller or goes away (Namke, 10).
Examples: Even though I think bad thoughts, I choose to be kind to myself. Even though I get angry over small things, I learn to keep to my cool. Even though I'm not very good at this, I'll give it my best try. Even when things seem unfair, I'm still a good person. Even though bad things have happened to me, I'm I'm doing the best I can. Even though I turn to food instead of taking care of myself, I forgive myself.
Chill out helper words: I keep my cool. I'm stronger than my mad feelings. I'll take a big breath. It's okay. It will work out. This is so unfair, but I can deal with it.
Hard work helper words: The harder work, the faster I can go play! I can do this. Yes! It's tough, but I can do hard things. I can work hard. I feel good when I work hard!
Key points to remember: You have lots of parts: a loving part, a happy part, a playful part, a work hard part, a sad part, a mad part, a worry part, a stubborn part, a trouble part, etc. You are more than your negative feelings.
Emotional Freedom Technique (EFT) combines the concepts of Cognitive Behavioral psychology and acupressure that you do on yourself. The acupressure aspect of this technique is based on the belief that we are electrical beings that need to stay balanced. Tapping on certain pressure points can help to release energy that gets stuck and out of balance. The cognitive behavioral aspect helps to recognize the problem, own the problem, and remind yourself that you are still a good person/ more than the sum of your parts/ learn from mistakes/can do better next time.
The EFT Short cut: Say your problem and something positive. Take a big breath and blow it out. Then tap gently on these points of your body:
1. Between the inside of your eyebrows with your fingers.
2. Outside the corners of your eyes.
3. Under your eyes on your cheekbones.
4. Under your nose.
5. Under your bottom lip.
6. On your chest, just below your throat outside your collarbones.
7. Go straight down several inches and tap on your rib cage just above the last rib.
8. Below your armpit on the side of your body down several inches.
Don't worry if you don't get the exact point. If you feel a tender spot, give it special attention. Continue tapping until the problem gets smaller or goes away (Namke, 10).
Examples: Even though I think bad thoughts, I choose to be kind to myself. Even though I get angry over small things, I learn to keep to my cool. Even though I'm not very good at this, I'll give it my best try. Even when things seem unfair, I'm still a good person. Even though bad things have happened to me, I'm I'm doing the best I can. Even though I turn to food instead of taking care of myself, I forgive myself.
Chill out helper words: I keep my cool. I'm stronger than my mad feelings. I'll take a big breath. It's okay. It will work out. This is so unfair, but I can deal with it.
Hard work helper words: The harder work, the faster I can go play! I can do this. Yes! It's tough, but I can do hard things. I can work hard. I feel good when I work hard!
Key points to remember: You have lots of parts: a loving part, a happy part, a playful part, a work hard part, a sad part, a mad part, a worry part, a stubborn part, a trouble part, etc. You are more than your negative feelings.
Rocketship introduction
Rocketship Introduction: adapted for art therapy use by Sara Crafton
MDV: Structured, Low complexity
ETC: Cognitive
Materials: large sheet of paper (rocketship outline may be drawn by therapist when appropriate), markers or crayons
Procedure: 1. Direct client to draw the outline of a spaceship. Explain that the client is going to take an imaginary trip to the moon. 2. Ask the client to draw 2 seats within the rocketship, and explain that he/she may take one person with him/her. Ask the client to draw him/herself and the person chosen to accompany him/her. 3. Explain to the client that he/she may take 3 favorite personal belongings on the trip. Encourage client to draw these items within the rocketship. 4. Optional processing questions might include: Would you like to take a trip to the moon? For what reasons? What would you miss when you were gone?
Rationale: Rocketship introduction offers a nonthreatening way to develop rapport with a client, learn about valued relationships, and become aware of personal attachments.
KFD
Kinetic Family Drawing (KFD): As prepared by Sarah Margaret Wade
Reference:
Burns, R.C., & Kaufman, S.H. (1970). Kinetic Family Drawings (K-F-D): An introduction to
understanding children through kinetic drawings. New York:Brunner/ Mazel.
Burns, R. C., & Kaufman, S.H. (1972). Actions, styles, and symbols in kinetic family
drawings (K-F-D): An interpretive manual. New York: Brunner/ Mazel.
Brooke, S.L. (2004). Tools of the trade: a therapist’s guide to art therapy assessments.
Springfield, IL: Charles C Thomas Publisher, LTD.
Purpose / Ages
The assessment was designed to understand child development and their self-concept and interpersonal relationships. It is believed to be a projective test and is used mostly with children and adolescents, however, age limit is not stated.
Materials: #2 pencil, 8 1/2" x 11" white paper
Procedures / Administration
There is no time limit. The administrator is to instruct the client to do the following:
“Draw a picture of everyone in your family, including you, doing something. Try to draw whole people, not cartoons or stick people. Remember; make everyone doing something—some kind of action.”
Inquiry
No specific inquiry is suggested. However, it is important to have a general idea and description of what the family is doing, who is represented in the picture, and what the client’s general thoughts are about the picture. An attempt should be made to gain an understanding of what they participant has drawn.
Interpretation
The interpretation is based upon actions, styles, and symbols used in the drawing. Scoring is based upon a grid to measure the distance of the self from the other figures and sizes of figures represented in the picture. An analysis sheet is included that summarizes information from the grid and drawing characteristics.
Strengths
The KFD shows promise as a tool that yields information about a child's personality state.
Limitations
test-retest reliability evidence was weak suggesting that the KFD may be sensitive to mood changes and pretest conditions. The test may also not be a reliable indicator or personality traits.
Adaptations/ Reflection
"Family Sculpture" -using modeling clay is a three-dimensional version of the family drawing. The benefit of using clay is that it allows the possibility for making changes and moving figures in relation to others.
"Draw yourself and a family member of your choice" might be a good alternative to children who may be resistant to drawing an entire family for various reasons.
I found the KFD to be a very unique way to understand both the client’s relationship with family members and how the client views themselves within their family. Burns’s and Kaufman’s book, Actions, Styles, and Symbols in Kinetic Family Drawings (K-F-D), is an excellent source for gathering information on the actions, styles, and symbols represented in drawings. The KFD assessments that I gathered for my client portfolio were fairly adequate in representing the client’s sense of self within their family.
Reference:
Burns, R.C., & Kaufman, S.H. (1970). Kinetic Family Drawings (K-F-D): An introduction to
understanding children through kinetic drawings. New York:Brunner/ Mazel.
Burns, R. C., & Kaufman, S.H. (1972). Actions, styles, and symbols in kinetic family
drawings (K-F-D): An interpretive manual. New York: Brunner/ Mazel.
Brooke, S.L. (2004). Tools of the trade: a therapist’s guide to art therapy assessments.
Springfield, IL: Charles C Thomas Publisher, LTD.
Purpose / Ages
The assessment was designed to understand child development and their self-concept and interpersonal relationships. It is believed to be a projective test and is used mostly with children and adolescents, however, age limit is not stated.
Materials: #2 pencil, 8 1/2" x 11" white paper
Procedures / Administration
There is no time limit. The administrator is to instruct the client to do the following:
“Draw a picture of everyone in your family, including you, doing something. Try to draw whole people, not cartoons or stick people. Remember; make everyone doing something—some kind of action.”
Inquiry
No specific inquiry is suggested. However, it is important to have a general idea and description of what the family is doing, who is represented in the picture, and what the client’s general thoughts are about the picture. An attempt should be made to gain an understanding of what they participant has drawn.
Interpretation
The interpretation is based upon actions, styles, and symbols used in the drawing. Scoring is based upon a grid to measure the distance of the self from the other figures and sizes of figures represented in the picture. An analysis sheet is included that summarizes information from the grid and drawing characteristics.
Strengths
The KFD shows promise as a tool that yields information about a child's personality state.
Limitations
test-retest reliability evidence was weak suggesting that the KFD may be sensitive to mood changes and pretest conditions. The test may also not be a reliable indicator or personality traits.
Adaptations/ Reflection
"Family Sculpture" -using modeling clay is a three-dimensional version of the family drawing. The benefit of using clay is that it allows the possibility for making changes and moving figures in relation to others.
"Draw yourself and a family member of your choice" might be a good alternative to children who may be resistant to drawing an entire family for various reasons.
I found the KFD to be a very unique way to understand both the client’s relationship with family members and how the client views themselves within their family. Burns’s and Kaufman’s book, Actions, Styles, and Symbols in Kinetic Family Drawings (K-F-D), is an excellent source for gathering information on the actions, styles, and symbols represented in drawings. The KFD assessments that I gathered for my client portfolio were fairly adequate in representing the client’s sense of self within their family.
The Story of Us: Group A
The Story of Us: Group Art Therapy: Sara Crafton and Margaret Colmore
ETC Level: Cr/K/S/P/A/C/Sy
MDV Level: S, S/U, R
Materials:Pre-existing group murals, scissors, glue, a stack of construction paper, larger piece of paper for cover, markers
Procedures
1. Present group with pre-existing murals, and allow members to choose one piece of construction paper.
2. Instruct the group to create a collage through the deconstruction of the murals. Explain that members can use their own images, trade pieces or sections, or put them in the middle for everyone to share. Give the members approximately 30 minutes to create their individual collages.
3. Process the experience by considering how the members were affected by this intervention.
4. The group will then create a cover for the book, thus reuniting the images. Each person will be asked to write or draw a final message to the group on the book's cover.
Rationale
To reflect back on a previous group stage and to express the current group stage. The artwork represents how the cohesion of the group has progressed. The final task of creating a book cover provides members with the opportunity for closure by writing some last words about their experience in the group.
Adaptations
Create something 3-Dimensional, such as a box, to collage with deconstructed images.
Think of different ways to bind the final project.
ETC Level: Cr/K/S/P/A/C/Sy
MDV Level: S, S/U, R
Materials:Pre-existing group murals, scissors, glue, a stack of construction paper, larger piece of paper for cover, markers
Procedures
1. Present group with pre-existing murals, and allow members to choose one piece of construction paper.
2. Instruct the group to create a collage through the deconstruction of the murals. Explain that members can use their own images, trade pieces or sections, or put them in the middle for everyone to share. Give the members approximately 30 minutes to create their individual collages.
3. Process the experience by considering how the members were affected by this intervention.
4. The group will then create a cover for the book, thus reuniting the images. Each person will be asked to write or draw a final message to the group on the book's cover.
Rationale
To reflect back on a previous group stage and to express the current group stage. The artwork represents how the cohesion of the group has progressed. The final task of creating a book cover provides members with the opportunity for closure by writing some last words about their experience in the group.
Adaptations
Create something 3-Dimensional, such as a box, to collage with deconstructed images.
Think of different ways to bind the final project.
Imaginary Ball Toss
"Imaginary Ball Toss"- Drama Therapy Warm-up Exercise: Margaret Colmore
ETC Level: K/S, Cr
MDV Level:Unstructured, Low Complexity
Materials: None
Procedures
Therapist begins warm up by instructing group to form a circle.
Therapist may choose to give verbal instruction to begin, or they may lead by example by pretending to hold an imaginary ball or object, and then toss the ball to another person in the group.
The group continues to toss the ball from one person to the next.
* The therapist may instruct the group that they can use their imagination and change the ball into any shape or form that they choose.
Rationale
This activity allows for the group members or clients to become more free, relaxed, and open to the remainder of the group session.
It helps the clients become more aware of group dynamics,non-verbal communication skills and working with others as a group.
It allows for self expression.
Adaptations
This warm-up exercise may not be good for clients with schizophrenia or disorders with similar symptoms because this may be too much for them to handle; for those patients, a less aggressive warmup would be more suitable, such as simply handing a small object from person to person instead of tossing or throwing.
This warm-up could also be adapted into an entire intervention by becoming more structured and complex with more instruction from the therapist.
It could also be followed by reflection time so that the group can talk about such things as group dynamics and relationships and the use of non-verbal communication.
ETC Level: K/S, Cr
MDV Level:Unstructured, Low Complexity
Materials: None
Procedures
Therapist begins warm up by instructing group to form a circle.
Therapist may choose to give verbal instruction to begin, or they may lead by example by pretending to hold an imaginary ball or object, and then toss the ball to another person in the group.
The group continues to toss the ball from one person to the next.
* The therapist may instruct the group that they can use their imagination and change the ball into any shape or form that they choose.
Rationale
This activity allows for the group members or clients to become more free, relaxed, and open to the remainder of the group session.
It helps the clients become more aware of group dynamics,non-verbal communication skills and working with others as a group.
It allows for self expression.
Adaptations
This warm-up exercise may not be good for clients with schizophrenia or disorders with similar symptoms because this may be too much for them to handle; for those patients, a less aggressive warmup would be more suitable, such as simply handing a small object from person to person instead of tossing or throwing.
This warm-up could also be adapted into an entire intervention by becoming more structured and complex with more instruction from the therapist.
It could also be followed by reflection time so that the group can talk about such things as group dynamics and relationships and the use of non-verbal communication.
Subscribe to:
Posts (Atom)