Title: Spill Journaling, as prepared by *Sara Crafton for 2010 KYATA intervention exchange
Materials: 12”x12” cardstock in different colors, stack of recycled magazines, pens, glue sticks, scissors, any other media as desired
Procedure:
1. Choose a magazine, and flip mindlessly through the pages, tearing out pages of interest. Try to avoid over-thinking this process.
2. With the same mindless intention, go through the chosen pages and tear out the word(s), image(s), and/or pattern(s) that attracted you to the page.
3. Now use the selected torn words, images, and patterns to create a collage on the cardstock. Leave as little or as much space as you like for journaling.
4. Journal with, around, and/or over the collage using stream of consciousness journaling (freely writing what comes to mind without judgment or analysis). Spill your thoughts onto the page, and feel free to add other artwork or doodling if desired.
Continue onto step #5 or stop here (depending on time and objective).
5. Repeat the process, only this time, take your time. Instead of tearing, use scissors to cut out words, images, and patterns. This second collage may be more methodical, orderly, and intentional.
Processing:
Compare and contrast the process of steps 1-4 with step 5. How did the final products vary? Was there a common theme between the two collages? Were there any surprises?
Rationale: This intervention helps to identify the essence of a stressor or obstacle. It is freeing, encourages a sense of play, and may help a person to distinguish true desires from outside expectations. It also stimulates the creative “flow,” and helps inhibited individuals approach art more confidently.
Adaptations: Spill Journaling can also be used as an artistic approach to information synthesis. For example, you might read a book or attend a workshop that you want to fully comprehend or identify the take away points. Spilling helps to consolidate and highlight useful information, while discarding less important information in a fun and creative way. Similarly, spill journaling could be used to address a specific concept or ideal, such as compassion or humor, or to reflect on a powerful quote or anecdote.
7 rules for successful conflict resolution
Source: 2/12/2010. As prepared by Catherine LeSaux, LCSW, for intra-office memo
When conflict occurs:
1. Take your temperature. Addressing a problem in the heat of the moment or when you're hot under the collar is not always the best time for problem solving. Give yourself some cooling off time.
2. Remember problems are not created in a vacuum. Ask yourself, "What's my responsibility, my part of the equation? What have I contributed, perhaps, unintentionally, to the problem?"
3. Accept and acknowledge your part of the equation. i.e. "maybe I wasn't clear in giving instruction; maybe there was an edge in the tone of my voice that may have been misinterpreted."
4. Address the issue of concern directly with your co-worker. If a resolution hasn't been reached, consult with a mentor or supervisor. Gossiping with co-workers is passive-aggressive and non-productive.
5. Focus on the problem, not personalities.
6. Be assertive rather than aggressive in your approach. You can still have very strong feelings about the topic while conducting yourself with a professional demeanor.
7. Remember that relationships are often strengthened and creative solutions can result from situations where the conflict has been addressed in a healthy manner.
When conflict occurs:
1. Take your temperature. Addressing a problem in the heat of the moment or when you're hot under the collar is not always the best time for problem solving. Give yourself some cooling off time.
2. Remember problems are not created in a vacuum. Ask yourself, "What's my responsibility, my part of the equation? What have I contributed, perhaps, unintentionally, to the problem?"
3. Accept and acknowledge your part of the equation. i.e. "maybe I wasn't clear in giving instruction; maybe there was an edge in the tone of my voice that may have been misinterpreted."
4. Address the issue of concern directly with your co-worker. If a resolution hasn't been reached, consult with a mentor or supervisor. Gossiping with co-workers is passive-aggressive and non-productive.
5. Focus on the problem, not personalities.
6. Be assertive rather than aggressive in your approach. You can still have very strong feelings about the topic while conducting yourself with a professional demeanor.
7. Remember that relationships are often strengthened and creative solutions can result from situations where the conflict has been addressed in a healthy manner.
Art therapy interventions for Substance Abusing population
Source: Handout prepared by Marian Lancaster, obtained during presentation in Ethics class
Self-perception
1. Self-using vs. Clean/Sober self
2. Inner-Outer self
3. How I see myself how others see me
4. Paper bag or box: inner-hidden, unshared, parts of self one wants to discard vs. outer-shared, false confident
5. Masks
Step work
1. First step: Powerlessness (collage helpful during detox)
2. Second step: Higher power, Spirituality
3. Third step: "Turning over" - Letting go
4. Fourth step: Inventory (cleaning out the refrigerator)
Bridge Drawing
From addiction to recovery: Where I've come from and Where I am going/Where I want to be (may add expected obstacles)
Road to recovery
Life/experience in treatment
Protection and Gates
Addressing defenses
Battle Drawing
Addiction vs. Recovery; Person vs. substance
Garbage Bag or God Bag
Get rid of inside garbage, or turn things over, "Let go, Let God."
Favorite Animal
Loner or pack animal, defenses, needs for survival, domesticated or wild, how does it relate to self, safe place for animal
Worst thing that ever happened when using
Look at guilt, shame, and forgiveness
Feelings
Mood states/mind states, collage, drawings, movement, body work
Boundaries/Trust
round robin drawing, trust walk, awareness of energy in fingers preferably 2 people move their hands close but not quite touching
Guided Relaxation, guided imagery, stress management techniques
Group
joint projects, survival on an island, quilts, murals, self-symbol in clay shared with other members
*My intention is to expand upon these ideas with a more formal post for each, or at least most, interventions. I was always digging out this hand-out, though, so I thought I should go ahead and post it for future convenient referencing.
Self-perception
1. Self-using vs. Clean/Sober self
2. Inner-Outer self
3. How I see myself how others see me
4. Paper bag or box: inner-hidden, unshared, parts of self one wants to discard vs. outer-shared, false confident
5. Masks
Step work
1. First step: Powerlessness (collage helpful during detox)
2. Second step: Higher power, Spirituality
3. Third step: "Turning over" - Letting go
4. Fourth step: Inventory (cleaning out the refrigerator)
Bridge Drawing
From addiction to recovery: Where I've come from and Where I am going/Where I want to be (may add expected obstacles)
Road to recovery
Life/experience in treatment
Protection and Gates
Addressing defenses
Battle Drawing
Addiction vs. Recovery; Person vs. substance
Garbage Bag or God Bag
Get rid of inside garbage, or turn things over, "Let go, Let God."
Favorite Animal
Loner or pack animal, defenses, needs for survival, domesticated or wild, how does it relate to self, safe place for animal
Worst thing that ever happened when using
Look at guilt, shame, and forgiveness
Feelings
Mood states/mind states, collage, drawings, movement, body work
Boundaries/Trust
round robin drawing, trust walk, awareness of energy in fingers preferably 2 people move their hands close but not quite touching
Guided Relaxation, guided imagery, stress management techniques
Group
joint projects, survival on an island, quilts, murals, self-symbol in clay shared with other members
*My intention is to expand upon these ideas with a more formal post for each, or at least most, interventions. I was always digging out this hand-out, though, so I thought I should go ahead and post it for future convenient referencing.
Magazine Mosaic
Source: This project emerged out of a group brainstorming session that started out as a mural design.
Materials: Old magazines suitable for tearing, a large sheet of posterboard (does not have to be new because surface will be covered), pencil, several paint brushes, modge podge
Procedure:
1. Draw rough outline of a scene or design onto the posterboard.
2. Identify what colors will be used for what parts of the drawing, and create a pile for each color to be used. (It is helpful to distinguish different shades of the same color. For example, if you will use light blue for the stream, and dark blue for the sky, then it is helpful to have a light blue pile and a dark blue pile, although not completely necessary.)
3. Begin searching through magazines for the appropriate colors. (Look for bigger pieces of color without a lot of other colors/writing.) Tear into smaller pieces. (Size of pieces is guided by personal preference.)
4. Once you feel you have enough of each color to complete the design, paint small sections with modge podge and glue colored magazine pieces down. (If working in a group setting, one person can paint the modge podge on, and one person can glue down the pieces.)
5. After all pieces are glued down, paint a thin layer of modge podge onto the finished product to seal pieces and discourage fly-away pieces.
*Expect this entire process to take 3-4 hours.
Rationale: This intervention utilizes an Art as Therapy approach, and encourages "flow," the term used to describe the therapeutic state of being fully present and engaged with an enjoyable activity. This activity is inexpensive and easily accessible, due to its use of recycled materials. As a group activity, the procedure is well-suited for improving cohesion and ability to work together as a team.
Adaptations: An Art as Psychotherapy approach may be incorporated in more insightful, high-functioning groups. Here, group members may base their design off of a therapeutic goal or theme, such as "Healing," "Wellness," "Energy," or "Grief." This approach lends itself to more cognitive-based processing questions.
This intervention could also be used on an individual basis.
Materials: Old magazines suitable for tearing, a large sheet of posterboard (does not have to be new because surface will be covered), pencil, several paint brushes, modge podge
Procedure:
1. Draw rough outline of a scene or design onto the posterboard.
2. Identify what colors will be used for what parts of the drawing, and create a pile for each color to be used. (It is helpful to distinguish different shades of the same color. For example, if you will use light blue for the stream, and dark blue for the sky, then it is helpful to have a light blue pile and a dark blue pile, although not completely necessary.)
3. Begin searching through magazines for the appropriate colors. (Look for bigger pieces of color without a lot of other colors/writing.) Tear into smaller pieces. (Size of pieces is guided by personal preference.)
4. Once you feel you have enough of each color to complete the design, paint small sections with modge podge and glue colored magazine pieces down. (If working in a group setting, one person can paint the modge podge on, and one person can glue down the pieces.)
5. After all pieces are glued down, paint a thin layer of modge podge onto the finished product to seal pieces and discourage fly-away pieces.
*Expect this entire process to take 3-4 hours.
Rationale: This intervention utilizes an Art as Therapy approach, and encourages "flow," the term used to describe the therapeutic state of being fully present and engaged with an enjoyable activity. This activity is inexpensive and easily accessible, due to its use of recycled materials. As a group activity, the procedure is well-suited for improving cohesion and ability to work together as a team.
Adaptations: An Art as Psychotherapy approach may be incorporated in more insightful, high-functioning groups. Here, group members may base their design off of a therapeutic goal or theme, such as "Healing," "Wellness," "Energy," or "Grief." This approach lends itself to more cognitive-based processing questions.
This intervention could also be used on an individual basis.
Animal Mentor
Source: originally taken from "Animal Answers" in the book, Stress Breakers. Based on the presentation of my co-worker, Elaine Robinson, LCSW.
Procedure: 1. Think of a problem that you are having a difficult time solving/working through/accepting. Keep that problem loosely in the back in the back of your mind. 2. Now imagine that you are in a beautiful, peaceful place. As you sit in your beautiful place, you look toward the horizon and notice an animal coming into your vision. 3. Once you notice the animal and it comes closer to you, ask it the question you have been trying to answer. Wait patiently for the animal's response.
Processing questions: What was your animal? Were you surprised that that particular creature emerged? Why do suppose that your creative mind chose that particular animal? It may also be useful to talk about the animal in symbolic or mythological terms, if such a meaning is known. Were you suprised at the animal's response to your question? Was this exercise helpful for you? Was it difficult for you to allow your creative mind to voice its opinion?
Rationale: The imaginary animal helps you to get in touch with your true feelings about an issue. Think of how small of a percentage of our brains we actually utilize in our daily lives. Perhaps there is untapped wisdom in our creative minds... We just need a vehicle to reach that wise and creative place. This intervention is one that can be revisited independently as needed, and may provide the participant with an added coping tool for stress management and independent problem-solving.
Adaptations: This guided imagery does not mention an artistic/visual component, but one could easily be added. For example, depict the animal you saw. Recreate on paper, or with 3D materials, your beautiful, peaceful place. Create a totem pole dedicated to your mentor animal.
Procedure: 1. Think of a problem that you are having a difficult time solving/working through/accepting. Keep that problem loosely in the back in the back of your mind. 2. Now imagine that you are in a beautiful, peaceful place. As you sit in your beautiful place, you look toward the horizon and notice an animal coming into your vision. 3. Once you notice the animal and it comes closer to you, ask it the question you have been trying to answer. Wait patiently for the animal's response.
Processing questions: What was your animal? Were you surprised that that particular creature emerged? Why do suppose that your creative mind chose that particular animal? It may also be useful to talk about the animal in symbolic or mythological terms, if such a meaning is known. Were you suprised at the animal's response to your question? Was this exercise helpful for you? Was it difficult for you to allow your creative mind to voice its opinion?
Rationale: The imaginary animal helps you to get in touch with your true feelings about an issue. Think of how small of a percentage of our brains we actually utilize in our daily lives. Perhaps there is untapped wisdom in our creative minds... We just need a vehicle to reach that wise and creative place. This intervention is one that can be revisited independently as needed, and may provide the participant with an added coping tool for stress management and independent problem-solving.
Adaptations: This guided imagery does not mention an artistic/visual component, but one could easily be added. For example, depict the animal you saw. Recreate on paper, or with 3D materials, your beautiful, peaceful place. Create a totem pole dedicated to your mentor animal.
Creating Illustrated Storybooks in Family Therapy
Source: Hanney, L. & Kozlowska, K. (2002). Healing traumatized children: Creating illustrated storybooks in family therapy. Family Process, 41 (1).
(This is one of the most helpful art therapy research articles I have found. It has a lot of great intervention strategies, strategic rationale, and a couple of well-thought-out case examples.)
Materials: several sheets of 12x12 paper (to be bound upon completion of book), markers, colored pencils, oil pastels, crayons, and/or paints
Procedure: 1. Explain the rules: All members must participate at least partially, respect for each member's artwork and potential differences in point of view and memories. No member may change another members drawings, although each member may modify his/her own drawings as needed. 2. The storybook begins at non-traumatic period of the family's story (i.e. how the parents met, the birth, etc.). It is important for the story to begin at a place of minimal anxiety so that the participants can enjoy the art making and become more comfortable with the process before more difficult material is explored. 3. The story may contain only images or images and writing. There are no rules about how each page is created or how family members share space and materials. 4. The therapist facilitates family members as they visually address important moments of the family's story. A page may be devoted to each important occurrence, or a page may house several important occurrences- the family decides.
Processing questions: Tell me about this picture. Who is this person here? Why is this person so far away? What's happening in this picture? Does anyone remember this differently? How does this person feel inside? Do you get this feeling as well? Show me where you get this feeling. Can you draw this feeling for me? Who in the family comforts you when you feel this way? I noticed that Johnny kicked Mary's leg and stole her crayon. Does this happen at home? What do you do when this happens at home?
Rationale: Creating illustrated stories over several sessions helps to establish a pattern of predictability to each session and encourages active engagement from multiple members of the family. Family members who are less verbal are still a necessary part of the process. Can help participants to "re-author" their lives. Provides opportunities for modeling and positive reinforcement of interaction among family members. Provides opportunities for discussion of sharing, appropriate expressions of anger, and parental management of interactions.
Adaptations: Illustrated storybooks can also be used as a therapeutic tool for fostered or adopted children to explore their origins.
(This is one of the most helpful art therapy research articles I have found. It has a lot of great intervention strategies, strategic rationale, and a couple of well-thought-out case examples.)
Materials: several sheets of 12x12 paper (to be bound upon completion of book), markers, colored pencils, oil pastels, crayons, and/or paints
Procedure: 1. Explain the rules: All members must participate at least partially, respect for each member's artwork and potential differences in point of view and memories. No member may change another members drawings, although each member may modify his/her own drawings as needed. 2. The storybook begins at non-traumatic period of the family's story (i.e. how the parents met, the birth, etc.). It is important for the story to begin at a place of minimal anxiety so that the participants can enjoy the art making and become more comfortable with the process before more difficult material is explored. 3. The story may contain only images or images and writing. There are no rules about how each page is created or how family members share space and materials. 4. The therapist facilitates family members as they visually address important moments of the family's story. A page may be devoted to each important occurrence, or a page may house several important occurrences- the family decides.
Processing questions: Tell me about this picture. Who is this person here? Why is this person so far away? What's happening in this picture? Does anyone remember this differently? How does this person feel inside? Do you get this feeling as well? Show me where you get this feeling. Can you draw this feeling for me? Who in the family comforts you when you feel this way? I noticed that Johnny kicked Mary's leg and stole her crayon. Does this happen at home? What do you do when this happens at home?
Rationale: Creating illustrated stories over several sessions helps to establish a pattern of predictability to each session and encourages active engagement from multiple members of the family. Family members who are less verbal are still a necessary part of the process. Can help participants to "re-author" their lives. Provides opportunities for modeling and positive reinforcement of interaction among family members. Provides opportunities for discussion of sharing, appropriate expressions of anger, and parental management of interactions.
Adaptations: Illustrated storybooks can also be used as a therapeutic tool for fostered or adopted children to explore their origins.
Key points of Choices, Cookies, Kids DVD
Source: Dr. Gary Landrath. Choices, Cookies, and Kids (DVD). This DVD is a brief, helpful intervention for parents looking for a creative approach to teaching their kids discipline and self-responsibility. Dr. Gary Landrath is a nerdy, yet likable speaker, and gives great examples of his Oreo cookie theory at work in his own home.
*Children want our attention, and will do whatever they must to get it.
*It's not what you do, but what you do after what you have done. Teaches child that relationships can be mended and that it's okay to admit when you've made a mistake.
Oreo cookie theory: Based on the question, "When will she learn what it feels like to make a choice?" Big choices are given to big kids. Little choices are given to little kids. Key word = "choose" (i.e. You may choose to have one oreo cookie, or you may choose to have no oreo cookies. You may choose to quit fighting or you may choose to lose television priveleges for the rest of the evening.)
*Choice-giving teaches self-control and self-responsibility. At the very moment a person chooses, (s)he commits to the decision (You can't take back a choice.) He gives the example of his two daughters making the choice to fight in the back seat of the car or watching their favorite television show. The choice is made the very moment they begin to fight in the car.
*Walk 5 years down the road and look back at a situation. The solution becomes crystal clear.
*Don't overdose on choices. Work on one or two things at a time.
*Children want our attention, and will do whatever they must to get it.
*It's not what you do, but what you do after what you have done. Teaches child that relationships can be mended and that it's okay to admit when you've made a mistake.
Oreo cookie theory: Based on the question, "When will she learn what it feels like to make a choice?" Big choices are given to big kids. Little choices are given to little kids. Key word = "choose" (i.e. You may choose to have one oreo cookie, or you may choose to have no oreo cookies. You may choose to quit fighting or you may choose to lose television priveleges for the rest of the evening.)
*Choice-giving teaches self-control and self-responsibility. At the very moment a person chooses, (s)he commits to the decision (You can't take back a choice.) He gives the example of his two daughters making the choice to fight in the back seat of the car or watching their favorite television show. The choice is made the very moment they begin to fight in the car.
*Walk 5 years down the road and look back at a situation. The solution becomes crystal clear.
*Don't overdose on choices. Work on one or two things at a time.
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