Graphic Facilitation is an innovative and wholly new application of art therapy theory and techniques to groups and organizations. Graphic Facilitation is a process in which a trained consultant, through color, symbols, and metaphors in murals, interprets and documents something as short as a keynote address or as long as an entire conference. The text provides a new and exciting avenue for art therapists and for organizational development consultants. The authors provide a detailed explanation of Graphic Facilitation—what it is, how and why it works, ideas about how to become a trained Graphic Facilitator, and a multidisciplinary literature base and resources that aspiring Graphic Facilitators will need. The book’s references and bibliography include pertinent, classic organizational development literature, essential learning for work in the area. Five case studies carefully lay out how the Graphic Facilitation process works in practice with a variety of organizational styles, models, and issues. They include visual murals and other imagery created by the Graphic Facilitator for each organizational event. These case studies clearly illustrate the value and promise of art therapy as an exciting new tool and provide a view of the impressive use of Graphic Facilitation. Written by two art therapists, this book is for art therapists who would like to develop and learn to use art therapy applications for business and organizational sectors. In this, it is an exciting new practice area for art therapists. The book will also be valuable for business coaches, human resource managers, organizational management consultants and facilitators who would like to enrich their practice with Graphic Facilitation techniques. CD-ROM not included in digital version of this title.

Unforeseen and precipitous violence is a reality of the times we live in, but it has always been a reality in the mental health profession. The main premise of this book is to make art therapists aware of the unpredictable violence that may occur in their day-to-day work with clients and the presence of potential danger. The author stresses the importance of preventive measures to ensure safety. The preface describes the horrific event the author witnessed and her realization that psychotherapy is a dangerous profession. The first chapter sets the stage for the exploration of mass murders, violence, creativity, and mental illness. Chapter 2 provides framework for the cultural context concerning the contemporary societal and cultural landscape within which mass murders exist. Major changes in mental health laws are discussed, including the individual versus community rights in mental health systems. Chapter 3 is a brief history of the treatment of violence in the United States mental health system. Gun violence, the stigma of mental illness, and the threat assessment in schools are explored. Chapter 4 examines art, violence, and mental illness, including historic artistic figures in which violence and/or mental illness was an issue. The artwork of serial killers such as Adolf Hitler, the psychiatrically institutionalized artist Martin Ramirez, and the Outsider artist Henry Darger are discussed. The author also describes her own experience as an expert witness for the trial of serial killer Eric Leonard. Chapter 5 displays the author's mass murderers’ artwork with a brief description of each event. Chapter 6 depicts the mass murders that occurred in the United States, October 2017 through September 2018. Chapter 7 portrays a reaction to the Marjorie Stone Douglas school shooting and the essay evoked by this tragedy. Chapter 8 offers practical suggestions to help art therapists find assistance and support in a dangerous practice. Safety orientation in art therapy education programs and job orientation are provided. Chapter 9 discusses additional practical suggestions for art therapists with help and support in a dangerous practice and culture. The last chapter encompasses final comments including the danger and calling of art therapy. This unique book will be of special interest to mental health practitioners, art therapists, social workers, educational therapists, and consultants.

Forensic Art Therapy is designed as an educational and informative resource for individuals from a diverse array of disciplines that engage in investigatory undertakings, interview victims and witnesses, and provide evidentiary testimony. The material presented serves as a primer for professionals that may present in court on behalf of a client. Ethical issues inherent in the forensic arena, as well as the use of novel scientific evidence in the form of drawings, legal proceedings, testimonials, and practical tips and strategies for effective witnessing, are shared. Research regarding a forensic art therapy investigative interview process, the Common Interview Guideline, examines the facilitative factor associated with the effect of drawing. When utilized as a primary resource within investigative interviews, drawing has the potential to offer support, promote empowerment and enhance disclosure. Understanding how drawing functions in investigative interviews and what it offers for the child, the team and the process contributes to on-going research and best practice. The text serves as a resource and a handbook for students and professionals that investigate, interview, testify and intervene on behalf of child victims and witnesses from the domains of child protection, law enforcement, prosecution, the judiciary, creative arts therapies, social work and allied practitioners in medicine and mental health.

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.

How does the family art therapist understand the complexities of another’s cultural diversity? What are international family therapist’s perspectives on treatment? These questions and more are explored in Multicultural Family Art Therapy, a text that demonstrates how to practice psychotherapy within an ethnocultural and empathetic context. Each international author presents their clinical perspective and cultural family therapy narrative, thereby giving readers the structural framework they need to work successfully with clients with diverse ethnic backgrounds different from their own. A wide range of international contributors provide their perspectives on visual symbols and content from America, Canada, Britain, Ireland, Australia, Israel, Russia, Singapore, Taiwan, Japan, Korea, Trinidad, Central America, and Brazil. They also address a diversity of theoretical orientations, including attachment, solution-focused, narrative, parent-child, and brief art therapy, and write about issues such as indigenous populations, immigration, acculturation, identity formation, and cultural isolation. At the core of this new text is the realization that family art therapy should address not only the diversity of theory, but also the diversity of international practice.

This book provides a practical and research-based exploration of virtual art psychotherapy, and how its innovations are breaking new ground in the mental health field. With seventeen chapters authored by leaders documenting their research on creative arts therapies online, along with findings from the Virtual Art Therapy Clinic, this volume presents examples, strategies, and experiences delivering arts-based therapeutic services and online education. Clinical practice examples support and provide evidence for the transition from in-person to virtual sessions. By combining the collected expertise of all the contributing authors, this book encourages art therapists to support further growth in the field of virtual art therapy.

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.

Doctor Ellen G. Horovitz shares over 40 years of experience as she transliterates evidence-based art therapy into medical terminology. This revised and updated Third Edition spells out the how-to's behind producing art therapy assessments, process notes, significant sessions, objectives and modalities, termination summaries and internet-based assessments into translatable documentation, designed to dovetail within an interdisciplinary medical model. In addition, this third edition emphasizes information on how to use psychological applications and art therapy based assessments to ensure best practices and efficacy of patient care. This step-by-step methodology fashions these reports, placing art therapy on equal footing with all mental health clinicians and generates records, which serve as points of departure for practitioners. This text is designed as a teaching tool that lays the foundation to enhance pertinent skills that are important to patient practice, including the armament to write up clinically-based reports that serve as a model for the field. Additionally, the practitioner is offered sample formats, legends and abbreviations of clinical and psychiatric terms, guidelines for recordable events, instructions of writing up objectives, modalities, and treatment goals as well as training on composing progress versus process notes. The Appendices provides a wealth of information and forms to use in one's clinical practice. This must-have reference manual amasses information that will serve as a companion guide for every art therapist to formulate clinical reports, and it will aid patients toward their trajectory of wellness, recovery and, above all, health.

This book is an attempt to give art therapy identity the front and center position it deserves. Despite efforts toward clarity, there will nevertheless remain many contradictory notions, often paradoxically existing at the same time. This is the nature of identity and of art therapy’s identity. “Art therapy” is neither a form of artist nor a form of therapist, but rather a whole new field – a separate and special profession with core values and attributes of its own that must lead to a special and separate identity. Chapter 1 is the “Introduction” to this book. In Chapter 2, “Images of Identity,” the basic groundwork is laid describing definitions of personal and professional identity and discussion of the concept of “intersectionality.” Chapter 3, “Living in the Real World,” discusses some unique problems faced by art therapists as they strive to achieve personal and professional identity and credibility. Chapter 4, “Essays on Identity by Art Therapists,” contains 22 essays by prominent art therapists who were invited to contribute their ideas. These essays can be considered different “readings” of what identity is in the art therapy field. Chapter 5, “Identity Initiative, Steps Toward a New Definition: An Action Plan,” describes a two-year process, including all segments of the art therapy community, to achieve and promulgate a shared public professional identity. Chapter 6 underscores “Conclusions” to discover some baseline information about identity for students entering graduate art therapy programs. A brief questionnaire was given to three art therapy master’s program directors to conduct this survey with their entering students in the fall 2012. An important and essential discussion of the nuances of identity by the art therapy community is a significant intention of the book. Identity and Art Therapy is primarily written for art therapists–both experienced and novice. It is for people who teach now and for those thinking about entering the field in the future.

Positive Art Therapy Theory and Practice outlines a clear, systematic approach for combining positive psychology with art therapy’s capacity to mobilize client strengths; induce engagement, flow and positive emotions; transform perceptions; build healing relationships and empowering narratives; and illuminate life purpose and meaning. Woven throughout are clinical illustrations, state-of-the-art research, discussion questions, and reflections on how therapists can apply this approach to their work with clients, and their personal and professional development. The book also includes a comprehensive list of more than 80 positive art therapy directives, a robust glossary, and lists of strengths and values. Written in an inviting and amusing style, this manual is both entertaining and practical—an invaluable tool for any practitioner looking to apply the most current theory and research on positive psychology and art therapy to their clinical practice.