From You and Me to Us and We

2017 ◽  
Vol 42 (2) ◽  
pp. 79-86
Author(s):  
Julia Sideris
Keyword(s):  
Art Therapy ◽  
Therapeutic Relationship ◽  
Service Providers ◽  
Point Of View ◽  
Main Theme ◽  
Art Making ◽  
Black And White ◽  
Liminal Spaces ◽  
Art Therapist ◽  
The Relationship

Drawing on a wide body of theory, including work on trauma and art therapy, this paper calls for art therapy to be considered a seminal player in the healing of childhood trauma across a range of service providers. The paper reflects on a therapeutic relationship between a recently graduated art therapist and a 7-year-old Aboriginal primary school boy living in rural Australia. Written from the therapist's point of view, this paper considers the responses of both the client and the therapist, and the transformative nature of this particular therapeutic relationship. The paper focuses on ‘Jannali’ (pseudonym) who was referred to the art therapy programme in the school, as he was distracted, difficult and disruptive in class. Struggling with his identity, his place in the community, his family and his skin, the relationship between the art therapist and Jannali developed through art and play. Reconciliation, not in terms of black and white, but in terms of relationship was a main theme: therapist and client moved from a state of ‘you and me’ to one of ‘us and we’. The paper shows how, through art making and play in a specific therapeutic context, cross-cultural relationships were forged, opening up liminal spaces in which the client's presenting issues and difficulties were both explored and supported and he was able to begin his journey as a learner where previously he was not. These changes also indicate that breaking the transmission of transgenerational trauma and its effects may be possible through art therapy.

scholarly journals РАСПРЕДЕЛЁННАЯ ОБРАЗНОСТЬ: ИМАГИНАТИВНЫЕ ПРАКТИКИ СОВРЕМЕННОЙ КУЛЬТУРЫ

2020 ◽  
Author(s):  
Ilya Inishev
Keyword(s):  
Structural Characteristics ◽  
Point Of View ◽  
Main Theme ◽  
Contemporary Culture ◽  
Normative Claim ◽  
Political Implications ◽  
Core Feature ◽  
And Control ◽  
The Relationship ◽  
Regime Characteristic

В статье идёт речь о формах образного, которые во всё возрастающей степени становятся характерными для современной культуры. Центральная характеристика этих форм – распределённость в пространстве и времени, их способность сопровождать нас практически повсеместно, не будучи привязанными к каким-либо организационным формам. Распределённые разновидности образного противопоставляются «традиционным», нераспределённым образам, «репрезентирующим» некоторое идентифицируемое содержание. Одна из базовых черт нераспределенного образного – заключённое в нём нормативное притязание, затрагивающее не только способы его интерпретации, но и телесные практики воспринимающего «субъекта», релевантные для его восприятия. В отличие от репрессивного характера нераспределённого образа, являющегося его структурной характеристикой, связанной с характерным для него режимом восприятия, распределённая образность базируется не на редукции и контроле телесности воспринимающего, но – напротив – на интенсификации (и в этом смысле эмансипации) его эмоционально-телесного самоприсутствия. В диахронической перспективе отношение между нераспределённой и распределённой образностью опосредовано сложной социально-исторической и материально-технологической динамикой развитого и позднего модерна. Реконструкция этой динамики позволяет выстроить генетическую связь (континуальность) между нераспределённой и распределённой образностью. В синхронической перспективе распределённая и нераспределенная разновидности образности генерируют несовместимые типы опыта с взаимоисключающими структурными характеристиками и социально-политическими импликациями (дискретность).Main theme of the article are the types of imagery becoming increasingly characteristic of contemporary culture. The core feature of these types is their being distributed across time and space, their ability to accompany us virtually everywhere, without being tied to any organizational form. Distributed imagery opposes “traditional”, non-distributed images “representing” some identifiable subject-matter. One of the essential traits of non-distributed imagery is its normative claim addressing not only the ways of its interpretation but also bodily practices of the perceiving subject, relevant for experiencing images of this kind. In contrast to the inherent oppressiveness of non-distributed image connected to a perceptual regime characteristic of it, the distributed imagery draws not on reduction and control of body of the perceiving subject but – on the contrary – on intensifying (and in this sense, on emancipating) its bodily emotional self-presence. From a diachronic point of view, the relationship between distributed and non-distributed imageries is mediated by quite a complicated socio-historical and material-technological dynamic of the developed and late modernity. Reconstruction of this dynamic enables us to identify the genetic interrelation (continuity) between non-distributed and distributed imagery. From a synchronic point of view, distributed and non-distributed imagery forms generate incompatible experience types with mutually exclusive structural characteristics and social-political implications (discontinuity).

scholarly journals Relationships Between the Therapeutic Alliance and Reactions to Artistic Experience With Art Materials in an Art Therapy Simulation

2021 ◽  
Vol 12 ◽  
Author(s):  
Inbal Gazit ◽  
Sharon Snir ◽  
Dafna Regev ◽  
Michal Bat Or
Keyword(s):  
Therapeutic Alliance ◽  
Art Therapy ◽  
Short Version ◽  
Art Making ◽  
Working Alliance Inventory ◽  
Artistic Experience ◽  
Triangular Relationship ◽  
Positive Correlations ◽  
Art Therapist

In art therapy, art-making plays an important role in the therapeutic relationship. To better understand the triangular relationship between the art therapist, the client and the artwork, this study investigated the association between the therapeutic alliance and reactions to artistic experiences with art materials in an art therapy simulation. The simulation consisted of a series of 6–8 sessions in which art therapy students were divided into teams composed of a permanent observer (art therapist) and creator (client). The client's role was to self-explore through art- making, and the art therapist's role was to accompany the client. Thirty-four students, all women, who played the art therapist role, and 37 students (one male) who played the client participated in the study. Of these participants, there were 24 pairs where both participants filled out all the questionnaires. A short version of the Working Alliance Inventory (WAI) was completed by the clients and the art therapists on the second session (T1) and on the penultimate session (T2). The clients also completed the Art-Based Intervention Questionnaire (ABI) at T2. Significant positive correlations were found between indices of the WAI for the art therapist and the client and the clients' reactions to the artistic experience with art materials on the ABI. The evaluation of the emotional bond between the art therapist and the client at the start of the simulation significantly predicted the client's reactions to the artistic experience with art materials at the end of the simulation and explained 45.4% of the variance for this variable. These findings highlight factors related to the development and influence of the therapeutic alliance, as well as the role of the artistic experience in art therapy and lay the groundwork for further research.

scholarly journals Hunting in Seneca’s Phaedra

2013 ◽  
Vol 18 ◽  
Author(s):  
Alin Mocanu
Keyword(s):  
Gender Roles ◽  
Fundamental Difference ◽  
Point Of View ◽  
Main Theme ◽  
Female Characters ◽  
Love Elegy ◽  
Spatial Point ◽  
The Relationship ◽  
The Erotic

Seneca, in his tragedy Phaedra, created an elegiac character using, among other elegiac conventions, the amorous hunting. His Phaedra turns into an aggressive erotic predator who wants to “hunt” Hippolytus whom she is in love with. The prologue of Phaedra connects the play with elegiac poetry through the extensive use of venery description, because it highlights Hippolytus’ attitude to love: the young man sees the forest as a place of reclusive solitude where he can hide from frenetic passion. The prologue to Phaedra is also important from a spatial point of view, for Seneca associates his two main characters with a fundamental difference in locale that recalls the roman elegiac paraclausithyron, where the lover tries, without success, to penetrate into his beloved’s intimate space, the house. Furthermore, Seneca reverses the relationship between the lovers: Hippolytus becomes the beloved, Phaedra, the lover, thus inverting the gender roles of normal erotic elegy. At the same time, he amplifies this convention, making it the main theme of his tragedy, for Phaedra has a fundamental impact on the play’s action through her desperate attempts to conquer her stepson. Roman love elegy often associates the lover, the feeble man, with the hunter, while representing the beloved, the dominant woman, as his prey. Seneca goes further, because Hippolytus, the true hunter, becomes the erotic prey, while the female character takes on the role of the erotic predator. In this way, Seneca justifies the reversal of the male and the female characters’ roles in his use of the elegiac theme of hunting.

scholarly journals KRITIK SOSIAL SEBUAH CINTA (DALAM SENI LUKIS)

2019 ◽  
Vol 16 (2) ◽  
pp. 212
Author(s):  
Leska Latansa Dina ◽  
Yayan Suherlan ◽  
Dona Prawita
Keyword(s):  
Visual Arts ◽  
Common Sense ◽  
Psychological Impact ◽  
Social Criticism ◽  
Point Of View ◽  
Main Theme ◽  
Human Beings ◽  
The Social ◽  
Orientation Deviation ◽  
The Relationship

<p><strong>ABSTRAK</strong></p><p><strong> </strong></p><p>Jurnal ini menginterpretasikan gagasan imajinasi penulis dalam judul kritik sosial sebuah cinta sebagai tema utama. Terdapat beberapa permasalahan yang dibahas dalam hal ini, yaitu; 1) hubungan antara cinta dengan kondisi sosial masyarakat yang digambarkan dalam seni lukis, 2) membahas tema kritik sosial sebuah cinta dalam seni lukis?, 3) memvisualisasikan kritik tentang cinta dalam sudut pandang sosial melalui karya seni lukis. Cinta merupakan hasrat naluriah manusia yang diberikan oleh Tuhan, cinta melibatkan perasan emosi yang dalam, dan berefek keindahan bagi penikmatnya. Aktifitas bercinta sebagai pengungkapan hasrat rasa saling cinta antar sesama manusia, menjadi aktifitas yang terlarang ketika melanggar norma sosial kesusilaan, dan dapat menjerumuskan seseorang ke arah degradasi moral serta memberikan dampak negatif secara</p><p>psikologis, seperti penyimpangan orientasi seksual, depresi, hingga terjadi kasus bunuh diri. Sehingga pada kasus tertentu dapat mengakibatkan tindakan diluar akal sehat dan tidak berperikemanusiaan seperti aborsi dan kasus pembunuhan. Penulis tertarik mengambil tema tersebut, dikarenakan penulis terketuk hati nuraninya ingin memaparkan sudut pandangnya tentang kritik sosial dari degradasi moral yang berkembang di masyarakat yang di atas namakan cinta. Tujuan dari penulis ialah menjadikan karya lukis sebagai media kritik atas penyimpangan sosial yang terjadi di masyarakat serta Mendiskripsikan degradasi moral manusia akibat pemahaman yang dangkal tentang cinta. Metode Penciptaan melaui penggalian ide dari pengamatan dan sebuah perenungan, dan hasil pengamatan dikonsep melalui rancangan sketsa yang ditata berdasarkan asas</p><p>keseni rupaan, tahapan terakhir ialah, memindahkan ide yang terkonsep ke dalam kanvas dengan cat minyak, yang di padu dengan sapuan kuas teknik opaque. Hasil karya yang diolah melalui pendekatan simbolisme visual yang bersifat komunikatif dan umum, yang dikemas secara estetik, diharapan penikmat tertarik untuk melihat apa yang disampaikan oleh karya lukis serta pesan moral yang terkandung di dalamnya.</p><p> </p><p><strong>Kata kunci: </strong>kritik sosial, cinta, seni lukis.</p><p> </p><p><strong><em>ABSTRACT</em></strong></p><p><em>This journal interprets the idea of the author’s imagination in the title “Kritik Sosial Sebuah Cinta” as the main theme. There are several problems discussed in this regard, namely: 1) the relationship between love and the social conditions of society described in painting arts, 2) discussing the theme of social criticism of love in painting, 3) visualizing criticism of love in a social perspective through love. Love is an instinctive desire of human given by God. Love involves deep emotional feelings, and has beautiful effect for the connoisseurs. The act of making love as an expression of mutual love between human beings is prohibited when it is violating social norms of decency and can plunge someone towards moral degradation, have a negative psychological impact, such as sexual orientation deviation, depression, and suicide. In certain cases, it can lead to the actions beyond common sense and inhumane such as abortion and murder cases. The author is interested in</em></p><p><em>taking the theme because of his consciousness to explain his point of view about social criticism on moral degradation in the name of love that develops in the community. The author aims to make painting as a mediaof criticism on social deviations that occur in society and to describe the degradation of human moral due to superficial understanding of love. The creation method is through extracting ideas from observations and contemplation, and the results are conceptualized through sketch designs arranged based on the principles of visual arts. The final stage is to move the conceptual ideas into canvas with oil paint, which are combined with opaque techniques. The work that is processed through the communicative and general visual symbolism approach, which is packed aesthetically, is expected to make the audience interested in seeing what is conveyed by the painting and the moral messages contained in it. </em></p><p><em> </em></p><p><strong><em>Keywords: </em></strong><em>social criticism, love, painting arts.</em></p>

scholarly journals THE FIELD OF WORK OF THE SCHOOL ART THERAPIST AND ITS UNIQUE POTENTIAL FOR THE SCHOOL’S SUPPORT TEAM

2019 ◽  
Vol 77 (1) ◽  
pp. 142-155
Author(s):  
Marika Ratnik ◽  
Eha Rüütel
Keyword(s):  
General Education ◽  
Art Therapy ◽  
Therapeutic Relationship ◽  
Preventive Intervention ◽  
Educational Goals ◽  
Art Therapists ◽  
Support Team ◽  
Supporting Effect ◽  
Management Staff ◽  
Art Therapist

Qualitative research was carried out to examine the first experiences of the implementation of art therapy in Estonian schools. The aim was to ascertain the facets of the activities of the school art therapists and the potential of art therapy in the work of a school’s support team. Within the framework of the research, art therapists and management staff from four general education schools were interviewed. The work foci and specifics of the art therapist’s work were described on this basis, and the potential of school art therapy in reaching educational goals was highlighted. The interviewees characterised the work of a school art therapist in terms of the artistic and creative nature of art therapy, the co-operation-based supportive therapeutic relationship; the variability of the forms of work; and the mitigating, relaxing, and school-adaptation-supporting effect of art therapy. Management staff indicated that the art therapist enriches the work of the school’s support system, as creativity-based methods make the strengths and development potential of students more visible, it is possible to choose from among various specialists to help children, and art therapy can be applied as a primary preventive intervention. Keywords: school art therapy, artistic expression, art therapeutic relationship, content of school art therapy.

A communication tool for cancer patients with pain: The art therapy technique of the Body Outline

2003 ◽  
Vol 1 (2) ◽  
pp. 135-142 ◽  
Author(s):  
PAOLA LUZZATTO ◽  
VALERIE SERENO ◽  
ROY CAPPS
Keyword(s):  
Cancer Patients ◽  
Art Therapy ◽  
The Body ◽  
Cancer Center ◽  
Communication Tool ◽  
Physical Pain ◽  
Therapy Technique ◽  
Psychiatric Department ◽  
Art Therapist ◽  
The Relationship

Objective: The multidimensional aspect of pain suggests the use of multimodal interventions. The Memorial Sloan-Kettering Cancer Center has recently utilized the art therapy modality to help patients communicate the painful side of their illness in such a way that they can feel understood and respected. In this paper we describe a simple innovative art therapy intervention that we have developed within the Art Therapy Service in the Psychiatric Department of Memorial Sloan-Kettering Cancer Center.Method: The patients work with a Body Outline as a starting template, together with the art therapist, in sessions lasting approximately 45 minutes. They are encouraged to fill the space inside and outside the Body Outline. They can use colored pastels, markers, or watercolor or cut out images for a collage.Results: Seventy hospitalized adult cancer patients, 60 women and 10 men, used this intervention between January 1999 and May 2000. We have analyzed the variety of responses from the 70 patients, and three main groups have emerged, which have focused on the following issues: (1) visualization of physical pain, (2) communication of emotions, and (3) search for meaning/spirituality.Significance of results: The results suggest that because of its abstract symbolic feature, the Body Outline is a very flexible therapeutic intervention. It must be offered within the relationship with the art therapist, and it may fulfill quite a variety of expressive needs, from the description of physical pain to the elaboration of spiritual longings.

Group art therapy: supporting social inclusion through an ancient practice?

2018 ◽  
Vol 22 (1) ◽  
pp. 6-12
Author(s):  
Sue Holttum
Keyword(s):  
Art Therapy ◽  
Social Inclusion ◽  
Art Making ◽  
Content Type ◽  
Healing Rituals ◽  
Rigorous Research ◽  
Group Members ◽  
Art Therapist ◽  
Therapy Sessions ◽  
Different Sources

Purpose Group art therapy involves art-making, which has been used throughout human history to symbolise struggle and transformation with group support. The purpose of this paper is to discuss two recent papers on how and why group art therapy may be helpful. Design/methodology/approach A search was carried out to find recent papers on group art therapy, with a focus on how and why it may be helpful. Findings One paper reported on 119 accounts of why group art therapy may be helpful. Five things seemed specific to group art therapy: using artworks to express experiences symbolically, connect with others, place confusing feelings outside oneself, and be playful, and following a set routine with others. The other paper reported in detail on group art therapy sessions with people who had a diagnosis of borderline personality disorder. Group interaction became most supportive when the art therapist clearly focused on people’s thoughts and feelings about artworks made by group members. Originality/value It has been unclear how group art therapy may help people. Understanding this means researchers can do more rigorous research on it. The two papers discussed represent probably the largest synthesis of different sources on how group art therapy might work, and the most detailed observation of what happens in practice. Both papers suggest group art therapy uses art to symbolise struggle and transformation with support from others, thus normalising this process and including those going through it rather than marginalising them. Parallels can be drawn with older healing rituals, in which crisis and struggle were viewed as normal.

Art therapy with cancer patients during chemotherapy sessions: An analysis of the patients' perception of helpfulness

2010 ◽  
Vol 8 (1) ◽  
pp. 41-48 ◽  
Author(s):  
Silvia Forzoni ◽  
Michela Perez ◽  
Angelo Martignetti ◽  
Sergio Crispino
Keyword(s):  
Cancer Patients ◽  
Art Therapy ◽  
Chemotherapy Treatment ◽  
Dyadic Relationship ◽  
Therapy Technique ◽  
New Meanings ◽  
Art Therapist ◽  
The Relationship ◽  
Triadic Relationship ◽  
Radiotherapy Treatment

AbstractObjective:Art therapy has been shown to be helpful to cancer patients at different stages in the course of their illness, especially during isolation for bone marrow transplantation, during radiotherapy treatment, and after treatment. The aim of this study is twofold: (1) to assess whether patients during chemotherapy sessions perceive art therapy as helpful and (2) to outline in which way art therapy is perceived as helpful.Method:157 cancer patients attending an Oncology Day Hospital (Siena, Italy) met the art therapist during their chemotherapy sessions. The art therapist used the same art therapy technique with each patient during the first encounter (“free collage”); afterward the relationship would evolve in different ways according to the patients' needs. A psychologist interviewed a randomized group of 54 patients after the chemotherapy treatment using a semistructured questionnaire.Results:Out of the 54 patients, 3 found art therapy “not helpful” (“childish,” “just a chat,” “not interesting”). The other 51 patients described their art therapy experience as “helpful.” From patients' statements, three main groups emerged: (1) art therapy was perceived as generally helpful (e.g., “relaxing,” “creative”; 37.3%), (2) art therapy was perceived as helpful because of the dyadic relationship (e.g., “talking about oneself and feeling listened to”; 33.3%), and (3) art therapy was perceived as helpful because of the triadic relationship, patient–image–art therapist (e.g., “expressing emotions and searching for meanings”; 29.4%).Significance of results:These data have clinical implications, as they show that art therapy may be useful to support patients during the stressful time of chemotherapy treatment. Different patients use it to fulfil their own different needs, whether it is a need to relax (improved mood) or to talk (self-narrative) or to visually express and elaborate emotions (discovering new meanings). Some illustrations of patients using the art therapy process to fulfill these three different needs are provided.

Freedom as Theme in Psychotherapy and Cognitive Behavioral Therapy

2016 ◽  
Vol 33 (S1) ◽  
pp. S456-S456
Author(s):  
J. Vyskocilova ◽  
J. Prasko ◽  
M. Slepecky ◽  
R. Hruby ◽  
A. Grambal ◽  
...  
Keyword(s):  
Decision Making ◽  
Free Choice ◽  
Cognitive Distortions ◽  
Behavioral Therapy ◽  
Point Of View ◽  
Cognitive Behavioral ◽  
Psychological Perspective ◽  
Black And White ◽  
Competing Interest ◽  
The Relationship

BackgroundThe problems that a client presents with to therapy may be associated with his possibility of free choice.MethodReview of psychotherapeutic and cognitive behavioral literature.ResultsFrom a psychological perspective, freedom may be either inner or outer, depending on the nature of obstacles and barriers that limit freedom. Therapy may be understood as a process through which the client is guided to actively increase his freedom. This refers to freedom from destructive habits, self-limiting attitudes, compulsive actions, symptoms etc. When creating the relationship, neither the client nor the therapist is entirely free as they bring past conscious and unconscious experiences into it. From the point of view of CBT, freedom is always relative. The idea of absolute freedom results from cognitive distortions – black and white thinking. CBT does not consider overall freedom but relatively free decision-making in particular situations that the client is in. The therapist helps the client to identify his errors in thinking and to learn a more realistic way to formulate his experiences and to use the new attitude to decide more freely. The change in attitude is realized through rehearsing freer behavior and experiments with it in one's life.ConclusionFreedom may be either inner or outer, depending on the nature of obstacles and barriers that limit freedom. Therapy may be understood as a process through which the client is guided to actively increase his freedom.Disclosure of interestThe authors have not supplied their declaration of competing interest.

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