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2018 Expressive Therapies Summit: NYC - Registration Site

SATURDAY LEARNING OBJECTIVES


MASTER CLASSES

RECOVERY COACH ACADEMY©: A CERTIFICATION TRAINING INTENSIVE FOR WORKING WITH ADDICTIONS OF ALL TYPES
(Wellness and Prevention)
Lisa Hope, ATR-BC, LADC, LCAT
 
Objectives:

18. List at least 4 pros and cons of self-disclosure in recovery coaching.
19. Name at least Motivational Interviewing skills.
20. List the stages of the Change Model.
21. Define the stages of recovery from addiction.
22. Explain cultur as it pertains to addiction and recovery.
23. Describe the role of cultural competence in recovery coaching.
 
 
Miller, WR & Rollnick, S.  (2012).  Motivational Interviewing: Helping People Change, 3rd Edition.
 
White, W. (2004). "Professional ethics." In R. Coombs (Ed.), Addiction counseling review: Preparing for comprehensive certification exams. Lahaska Press, pp. 535- 576.
 
McIntosh, P. (1989). "Unpacking the Invisible Knapsack. White Privilege: Unpacking the Invisible Knapsack."  Peace and Freedom Magazine, July/August, pp. 10-12.
 
DANCING THROUGH LIFE, MOVING THROUGH GRIEF: LEGACY & LOSS IN MUSIC AND MOTION
(Clinical Interventions and Evidence-based Practice)
Molly Arney, MS, R-DMT, CDP, CADDCT

Objectives:
1. Describe 2 or more ways to use music and movement interventions with people at the end-of-life. 
2. List 3 or more approaches to healing grief when working with caregivers processing recent loss. 
3. Identify 1 or more ways to enhance a client's personal legacy and life journey. 
4. Describe 1 or more ways to implement non-verbal interventions within a bereavement group. 
5. State and describe 3 or more stages of grief. 
6. Identify 3 creative arts therapy techniques for enhancing quality of life with hospice patients. 

Dillenbeck, M., & Hammond-Meiers, J. A. (2009). "Death and dying: Implications for dance/movement therapy." American Journal of Dance Therapy, 31(2), 95-121. 

Murray, Kendall, Grant, Boyd, Barclay, & Sheikh. (2007). "Patterns of Social, Psychological, and Spiritual Decline Toward the End of Life in Lung Cancer and Heart Failure." Journal of Pain and Symptom Management, 34(4), 393-402. 

Kübler-Ross, E., & Kessler, D. (2005). On grief and grieving: Finding the meaning of grief through the five stages of loss. New York: Scribner.

DIGITAL ART THERAPY WITH AT-RISK ADOLESCENTS: SCREENING THE EFFECTS OF SOCIAL MEDIA
(Counseling Theory/Practice and the Counseling Relationship; Psychological and Psychotherapeutic Theories and Practice; Media and Materials in Treatment)
Kendra Carlson, MAAT, ATR-BC
Marney Schorr, MA
 
Objectives:
1. Explain 3 benefits and 3 challenges of working with digital media in the context of art therapy and treatment with at-risk youth. 
2. Name 2 art therapy interventions featuring digital media for use in treatment with adolescents impacted negatively by social media. 
3. Describe 3 best practices when using digital and social media with this population, particularly as they relate to ethics of displaying patient art, HIPPA, confidentiality, and consent.
4. Identify 2 behavioral health concerns associated with adolescent overuse of social media. 
5. Describe 2 interpersonal risk factors for adolescent suicide associated with social media. 
6. Describe 1 or more art therapy interventions designed to target the negative effects of social media for use with adolescents at risk for suicide.

Austin, B. (2010). "Technology, art therapy and psychodynamic theory: Computer animation with an adolescent in foster care." In C. H. Moon (Ed.), Materials and media in art therapy: A critical understanding of diverse artistic vocabularies (pp. 199?213). New York, NY: Routledge. 
 
Garner, R. (2017). Digital art therapy; Materials, methods and applications. London and Philadelphia: Jessica Kingsley Publishers. 
 
Malchiodi, C. A. & Johnson, E. R. (2012). "Digital art therapy with pediatric patients." In C. Malchiodi (Ed.), Art therapy and health care. (pp. 106-121). New York: Guilford.
 
COLLECTIVE STORIES: ARCHETYPAL THEMES & EXPRESSIVE APPROACHES FOR DEVELOPING TOLERANCE AND EMPATHY
(Counseling Theory/Practice and the Counseling Relationship; Psychological and Psychotherapeutic Theories and Practice; Media and Materials in Treatment)
Amy Clarkson, MMT, MT-BC, CP, PAT, LCAT
Barbara McKechnie, MA, RDT/BCT, CP, PAT, LPC, LCAT
 
Objectives:
1. List 3 stories that are useful for engaging groups in group-oriented exploration of themes. 
2. Identify 3 options for sociometric selection of a group story.
3. Describe 1 method of scene setting for collective story enactment. 
4. Describe 2 or more interview questions to ask a client in role within a collective story. 
5. State 2 methods for deepening the experience of role toward enhancing empathy. 
6. Identify at least 2 important elements necessary for effective session closure following the enactment of a collective story. 
 
Garcia, N. & Sternberg, P. (2000). Sociodrama: Who's in your shoes?, 2nd ed. Westport, CT: Praeger Publishers. 
 
Pitzele, P. (1997). Scripture Windows. Los Angeles, CA: Torah Aura Publishers. 
 
Gersie, A. (1997). Reflections on therapeutic storymaking: The use of stories in groups. London: Jessica Kingsley Publishers.
 
THERAPEUTIC PUPPETRY FOR SAFE EXPRESSION, EXPLORATION & TRANSFORMATION AT ANY AGE
(Counseling Theory/Practice and the Counseling Relationship; Psychological and Psychotherapeutic Theories and Practice; Media and Materials in Treatment)
Bess Eiermann, MA, R-DMT, CAGS
Maude Davis, MA
 
Objectives:
1. Describe 2 different ways to work with puppets to create a safe space for self-exploration. 
2. List and describe 3 psychodynamic aspects of working with puppets.
3. Identify 2 ways to use puppetry as an assessment technique in clinical practice. 
4. Name 3 methods of engaging the imagination that help clients connect to their emotional resources. 
5. Describe 3 ways in which puppetry provides opportunities to manage degrees of frustration and styles of control. 
6. Identify 4 ways to apply story narratives to life stage transition challenges using therapeutic puppetry. 
 
Jung, C. (1970). The Structure and Dynamics of the Psyche (Collected Works of C.G. Jung, Volume 8). Princeton University Press: Princeton, NJ. 
Moreno, J.L. (1983). Theater of Spontaneity, 3rd Ed. Beacon Press: Boston, MA. 
Winnicott, D.W. (1971). Playing & Reality. Tavistock Publications: London.
 
EDITH KRAMER’S “CARING NET”: CREATING COMPASSION WITH CLAY
(Clinical Interventions and Evidence-based Practice)
Lani A. Gerity, DA, ATR
Susan Ainlay Anand, ATR-BC, ATCS, LPAT
 
Objectives:
1. Describe 2 or more therapeutic benefits of working with clay.
2. Identify 3 ways that therapists can adapt working with clay into their clinical practices. 
3. List 3 clinical populations for whom working with clay would provide therapeutic benefits. 
4. Describe 3 methods that were used by Edith Kramer and are useful in promoting pro-social behavior and well-being for individuals and groups. 
5. List at least 3 ways to create a compassionate art room for art therapy with people who have experienced marginalization, trauma, and/or survivors of life-threatening conditions, such as serious illness and disasters. 
6. Describe how this approach integrates cultural, theoretical, and clinical practice for counselors, social workers, and psychotherapists.  
 
Gilbert, P. (2015b). "Affiliative and prosocial motives and emotions in mental health." Dialogues in Clinical Neuroscience, 17(4), 381–389. 
 
Neff, K., & Germer, C. (2013). "A pilot study and randomized controlled trial of the mindful self-compassion program." Journal of Clinical Psychology, 69, 28-44. DOI: 10.1002/jclp.21923 [PubMed] 
 
Kramer, E. (2018). "A fortunate life." In L. Gerity & S.A. Anand (Eds.), The legacy of Edith Kramer: A multifaceted view (pp. xvi-xxiii). New York and London: Routledge.
 
AN INTRODUCTION TO USING IFS IN TRAUMA TREATMENT USING EMBODIED EXPERIENTIAL PRACTICES
(Counseling Theory/Practice and the Counseling Relationship; Psychological and Psychotherapeutic Theories and Practice; Media and Materials in Treatment)
Adrienne Glasser, LCSW, RDMT
 
Objectives:
1. Identify 3 concepts from Internal Family Systems for working with parts in treatment. 
2. Describe at least 2 types of experiential approaches that incorporate role-play and creative movement with traumatized clients. 
3. State at least 2 ways that a counselor or therapist can access their compassionate self in order to provide the most effective treatment for traumatized clients.
4. Identify 3 concepts related to the physiology of tramatized clients that can enhance counseling and psychotherapy with traumatized clients.
5. Define the concept of regulation, and describe 2 directives for helping clients develop a more regulated nervous system.
6. Describe 2 visualization exercises that can be used with traumatized clients to enhance clinical treatment.
 
Schwartz, Richard (May/June 2004). "The Larger Self." Psychotherapy Networker. 
 
Sandel, S. (1993). "Imagery in dance therapy groups: A Developmental Approach." In S Sandel, S Chaiklin, & A Lohn (EDs), Foundations of Dance Movement Therapy: The Life of Marian Chase (pp. 112-119). Columbia, MD: Marian Chase Memorial Fund of The American Dance Therapy Association. 
 
Van Der Kolk, Bessel. (2014) The Body Keeps Score: Healing From Trauma/Owning Your Self. (pp. 203-229). New york, Penguin Group.
 
ETHICS IN REAL LIFE PRACTICE: FROM CHALLENGES TO SOLUTIONS FOR CREATIVE ARTS THERAPISTS
(Counselor Professional Identity and Practice Issues; Professional Issues; Ethics)
Angela Guerriero, MT-BC
Gregory S. Perkins, MT-BC
Ellen Stoller, ATR-BC, LCAT
 
Objectives:
1. Identify and explain the applicability of at least 3 self-care related areas in participant's association’s code of ethics. 
2. Identify 4 barriers to self-care, and consult their association's code of ethics as a basis for strategizing solutions. 
3. State at least 2 self-care strategies and when to employ them.
4. Explain the use of personal data to assess the effectiveness of a self-care plan. 
5. Write a personal definition of self-care using concepts from participant's association's code of ethics. 
6. List 2 areas from participants's association's code of ethics and various art modalities to integrate accountability into the development or revision of their self-care plan. 
 
Guy, J. & Norcross, J. (2007). Leaving it at the office: A guide to psychotherapist self-care. New York, NY: Guilford Publications, Inc. 
 
Van Dernoot Lipsky, L., & Burk, C. (2009). Trauma stewardship: An everyday guide to caring for self while caring for others. Oakland, CA: Berrett-Koehler, Inc. 
 
Zeidner, M., Hadar, D., Matthews, G., & Roberts, R.D. (2013). "Personal factors related to compassion fatigue in health professionals." Anxiety, Stress & Coping, 26(6), 595-609.
 
MIXED MEDIA ACTIVITIES FOR FACILITATING ATTUNEMENT, RISK-TAKING, MEANING & MASTERY
(Counseling Theory/Practice and the Counseling Relationship; Psychological and Psychotherapeutic Theories and Practice; Media and Materials in Treatment)
Mary Ellen Hluska, PhD, ATR-BC, LCPAT
 
Objectives:
1. Describe 3 art media applications for treatment of clients with complex diagnoses. 
2. List at least 4 rationales for the specific use of mixed media in clinical practice. 
3. Define attunement and describe how it can be cultivated through creative dialogue within the art making experience. 
4. Identify 2 or more historic uses of mixed media as an agent of change and describe how to apply them to current professional goals. 
5. State at least 1 parallel between mixed media applications and client's life experience. 
6. Describe at least 2 theoretical applications of use of mixed media with clients across the lifespan. 
 
Kossak, M., (2015). Attunement in expressive art therapy: Towards and understanding of embodied emotional empathy. Springfield, ILL: Charles C. Thomas Publisher, LTD.
 
Robbins, A., (1999) "Chaos and form," Art Therapy, 16(3), 121-125. DOI: 10.1080/07421656.1999.10129652 
 
Strouse, S., (2013). Artful Grief, Bloomington, IN: Balboa Press.
 
BRAINSPOTTING AND THE ARTS THERAPIES: NEUROBIOLOGICAL & EXPRESSIVE TOOLS FOR SYMPTOM RELIEF
(Counseling Theory/Practice and the Counseling Relationship; Psychological and Psychotherapeutic Theories and Practice; Media and Materials in Treatment)
Christine Ranck, PhD, LCSW
Lisa Donohue-Olivieri, MA, LPC, LADC, ATR-BC
Rachel Black, MAAT, ATR
 
Objectives:
1. Define a Brainspot as it relates to clinical practice. 
2. Identify 4 types of Brainspots that are beneficial for using in counseling and various types of psychotherapy work. 
3. Explain 4 key concepts behind the basic brain science of BSP.
4. Describe 1 or more ways to use the externalized image of a traumatic experience, such as a drawing or collage, as a "gazespot."
5. List 2 or more steps in using a created image as a Resource Brainspot in counseling or psychotherapy. 
6. Identify 4 or more ways to incorporate Brainspotting into art therapy and/or counseling/psychotherapy sessions for enhanced clinical efficacy with a variety of clients of all ages and issues. 
 
Grand, D. (2013). Brainspotting: The Revolutionary New Therapy for Rapid and Effective Change. Sounds True, Louisville, CO. 
 
Corrigan, F.  "Brainspotting: Recruiting the midbrain for accessing and healing sensorimotor memories of traumatic activation." Medical Hypotheses 80 (2013) 759-766. 
 
Doidge, N (2007) The Brain That Changes Itself.  Penguin Books:Toronto.
 
SUBTRACTIVE DRAWING FOR TRANSFORMATION IN TREATMENT: ERASING ANXIETY, PERFECTIONISM & SELF-DOUBT 
(Counseling Theory/Practice and the Counseling Relationship; Psychological and Psychotherapeutic Theories and Practice; Media and Materials in Treatment)
Frances A. Smokowski, MFA, MAAT, ATR-BC, LCAT
 
Objectives:
1. List and describe at least 1 special characteristic and application of at least 3 types of commercially available erasers including: kneaded erasers, vinyl erasers (bricks and sticks), eraser pads. 
2. Identify and use at least 2 tools that facilitate pre-planning while increasing graphic control, precision and imaginal containment including: eraser shields, drafting tape, cover sheets. 
3. Describe and demonstrate facility with at least 2 subtractive drawing techniques. 
4. List and describe at least 2 activities that use the push-pull of subtractive drawing to foster flexible thinking and creative problem solving in clients. 
5. Describe how to employ life drawing using subtractive and additive techniques with at least 1 clinical population. 
6. Name at least 4 key indicators for determining when anxious or resistant clients may benefit from a subtractive drawing intervention.
 
Artisides, J. (2011). Lessons in Classical Drawing: Essential Techniques from Inside the Atelier. Watson-Guptill Publishing: New York, NY.
 
PLAYBACK THEATRE, PSYCHODRAMA & THE ART OF ACTIVE LISTENING: HELPING CLIENTS EMBODY THEIR STORIES
(Group Dynamics and Counseling)
Judy Swallow, MA, CRS, TEP, LCAT
 
Objectives:
1. Name 3 playback forms that can be used in clinical work. 
2. Describe 2 psychodrama tools in action. 
3. State 2 or more components of crafting a personal story that could be used in counseling or psychotherapy sessions. 
4. Describe 1 or more ways to engage clients in dramatization of personal stories as a clinical intervention. 
5. Employ 3 storytelling action methods that can be employed with various clinical populations. 
6. State 2 or more differences between playback and psychodrama approaches as they pertain to clinical work.
 
Salas, J. (2013). Improvising Real Life: Personal Story in Playback Theatre 20th Anniversary Edition. Tusitala Publishing: New Paltz, NY.
Ellinger, A. & C. (2016). A Playback Theatre Toolkit: through the lens of one company's perspective. CreateSpace Independent Publishing Platform.
Fix, J. (1996). Acts of Service. Tusitala Press: New Paltz, NY.




MORNING WORKSHOPS & DIDACTICS

MYTH & METAPHOR IN HEALING: LISTENING TO IMAGES, WRITING FOR SOUL
(Counseling Theory/Practice and the Counseling Relationship; Psychological and Psychotherapeutic Theories and Practice; Media and Materials in Treatment)
Josie Abbenante, ATR-BC, LPAT
 
Objectives:
1. State 1 or more ways in which incorporating myth into therapeutic work can enable clients to deepen understanding of their personal struggles. 
2. Describe and practice 2 methods of listening for metaphor, whether in artwork or life situations, when working with clients of all ages. 
3. Describe and apply 2 ways to explore artwork through writing that will assist adolescents and adults to move past interpretation and into metaphor, thus increasing trust in the therapeutic process.
 
Rhyne, J. (1996). The Gestalt Art Experience: Revised Edition.  Chicago: Magnolia Street Publishers. 
 
Hillman, J. (1977). "Inquiry into image." Spring: An Annual of Archetypal Psychology and  Jungian Thought, pp. 62-88. Zurich: Spring. 
 
Kapur, K. (2007). Ganesha goes to lunch: Classics from mystic India. San Rafael, CA: Mandala  Publishing.

IN HER VOICE: EMPOWERING WOMEN WITH VOCAL PRESENCE
(Counseling Theory/Practice and the Counseling Relationship; Psychological and Psychotherapeutic Theories and Practice; Media and Materials in Treatment)
Celia Bockhoff, MSW, LCSW, SEP
 
Objectives:
1. Describe 3 or more ways that gender discrimination, boundary violations, and/or traumatic experiences specific to women impact the nervous system and vocal expression. 
2. Learn 4 or more practices for developing vocal presence in women, enhancing increased core strength and a deeper sense of self. 
3. Identify 3 or more ways to integrate vocal practices into clinical settings, supporting therapeutic effectiveness in working with women who have a wide range of treatment issues.
 
Levine, Peter. (2010). In an Unspoken Voice: How the Body Releases Trauma and Restores Goodness. Berkeley: North Atlantic. 
 
Van Der Kolk, Bessel. (2014) The Body Keeps the Score: Brain, Mind, and Body in the Healing of Trauma. New York: Viking.
 
Carol, Shawna. (2003/2015) SpiritSinging: Awaken to the Power of your Voice (previously published as “The Way of Song:”). Kapaa, HI: SpiritSong Publishing.

PERFORMATIVE STORYTELLING WITH ADOLESCENTS, ADULTS & FAMILIES TO FACILITATE EMPATHY AND CONNECTION
(Clinical Interventions and Evidence-based Practice)
Rebecca Bokoch, PsyD
Jenny Gillett, MA
 
Objectives:
1. Identify at least 3 characters within a cultural story and describe 1 or more ways to build empathy for their situations, to facilitate the clinical goals of enhancing quality of interpersonal relationships and building social skills. 
2. Describe and demonstrate at least 3 therapeutic storytelling techniques for adolescents, adults, and families, in order to enhance clinical goals of improving relationship quality and decreasing psychological symptoms. 
3. Experience and practice at least 2 valuable compassion-building drama therapy games for working with relationship quality and social skills.
 
Baskerville, D. (2011). "Developing cohesion and building positive relationships through storytelling in a culturally diverse New Zealand classroom." Teaching & Teacher Education, 27(1), 107–115. doi:10.1016/j.tate.2010.07.007 
 
Hibbin, R. (2016). "The psychosocial benefits of oral storytelling in school: Developing identity and empathy through narrative." Pastoral Care in Education, 34(4), 218–231, doi:10.1080/02643944.2016.1225315 
 
Ingamells, K. M. (2016). "Wilbur the worrier becomes Wilbur the warrior: A teaching story for narrative family therapists." Journal Of Systemic Therapies, 35(4), 43–57. doi:10.1521/jsyt.2016.35.4.43

SYMBOLISM IN THE PLAY, DRAWINGS & DREAMS OF CHILDREN: IMPLICATIONS FOR PLAY THERAPISTS
(Counseling Theory/Practice and the Counseling Relationship; Psychological and Psychotherapeutic Theories and Practice; Media and Materials in Treatment)
David A. Crenshaw, PhD, ABPP, RPT-S
Sarah Caprioli, LMHC
Jillian Kelly, LCSW, RPT
 
Objectives:
1. Describe 3 practical implications of understanding symbolized affect in play therapy. 
2. Identify 3 indicators of exceeding the 'windows of affect tolerance' that can be observed in play therapy.
3. List 3 ways that posttraumatic play can be redirected.
 
Marks-Tarlow, T. (2015). "From emergency to emergence: The deep structure of play in psychotherapy." Psychoanalytic Dialogues, 25 (1), 108-123. 
 
Ritter, M. (2014). "Silence as the voice of trauma." American Journal of Psychoanalysis, 74, 176-294. 
 
Straker, G. (2006). "Signing with a scar: Understanding self-harm." Psychoanalytic Dialogues, 161, 93-112.

CLINICAL EMPATHY AND ITS CHALLENGES: TREATING WHOLEHEARTEDLY
(Counseling Theory/Practice and the Counseling Relationship; Psychological and Psychotherapeutic Theories and Practice; Media and Materials in Treatment)
Craig Haen, PhD, RDT, CGP, FAGPA, LCAT
Einat Metzl, PhD, ATR-BC, CST, LMFT
 
Objectives:
1. Identify 2 current theoretical definitions of empathy as it applies to working with the expressive arts. 
2. Describe 3 creative interventions participants can use to explore their own challenges around empathy in their work with clients. 
3. List 2 or more expressive tools that can be incorporated into current clinical cases/situations in their practice.
 
Franklin, M. (2011). "Affect regulation, mirror neurons, and the third hand: Formulating mindful empathic art interventions." Art Therapy: Journal of the American Art Therapy Association, 27(4), 160-167. doi: 10.1080/07421656.2010.10129385 
 
Haen, C. (2017). "Resuscitating bodies: On deadness, trauma, and intersubjectivity." The Arts in Psychotherapy, 55, 11-18. doi: 10.1016/j.aip.2017.03.004 
 
Lord, S. (2018). Moments of meeting in psychoanalysis: Interaction and change in the therapeutic encounter. New York, NY: Routledge.

DBT, ART & ACTION TECHNIQUES FOR EXPLORING CONFLICT AND AMBIVALENCE IN CLINICAL PRACTICE
(Counseling Theory/Practice and the Counseling Relationship; Psychological and Psychotherapeutic Theories and Practice; Media and Materials in Treatment)
Linda Iannacone, MA, ATR-BC
 
Objectives:
1. State 2 principles of Dialectal Behavior Therapy that can be integrated with art therapy practice. 
2. Describe 2 methods of art and expressive therapy to use when faced with a client presenting issues of ambivalence or conflict.
3. Describe how to employ 3 writing prompts to phenomenologically explore the experience of dialectical tension.
 
Malchiodi, C. (1998). The Art Therapy Sourcebook. Los Angeles, CA: Lowell House, p 227 
 
Nolte, J. (2008). The Psychodrama Papers, Hartford, CT: Encounter Publications, P 79 
 
Korner, K. (2012). Doing Dialectical Behavior Therapy, A Practical Guide. New York, NY: Guilford Press, p 141.

TOLERATING THE INTOLERABLE: HELPING CLIENTS TO MANAGE DIFFICULT SYMPTOMS, RELATIONSHIPS & SITUATIONS
(Counseling Theory/Practice and the Counseling Relationship; Psychological and Psychotherapeutic Theories and Practice; Media and Materials in Treatment)
Marianne Joiner-Hughes, MPS, ATR-BC, LCAT, LP
 
Objectives:
1. Identify and describe at least 1 personal or professional experience when a straight-forward understanding became more complex but fostered a more intimate bond with a client. 
2. Define the role of countertransference in the therapeutic relationship. 
3. Describe at least 1 way of tolerating the intolerable, examining how to remain standing (or seated or laying down) when faced with an irreparable or seemingly irreparable rupture.
 
Davies, J.M. (2004). "Whose bad objects are we anyway?: Repetition and our elusive love affair with evil." Psychoanalytic Dialogues, 14(6), 711-732. 
 
Bion, Wilfred. (1959). "Attacks on linking." International Journal of Psycho-Analysis, 40, 308-315. 
 
Beebe, B., Lachmann, F. (2014). The origins of attachment: Infant research and adult treatment. New York: Routledge.

NEUROSEQUENTIAL & BILATERAL ART THERAPY WITH ADULTS: SCRIBBLE, SQUIGGLE, WIGGLE
(Counseling Theory/Practice and the Counseling Relationship; Psychological and Psychotherapeutic Theories and Practice; Media and Materials in Treatment)
Peggy Kolodny, ATR-BC, LCPAT
 
Objectives:
1. Describe 6-8 art and play therapy interventions that can be used with adults that follow the Neurosequential Model. 
2. Identify 6-8 stages of art development that will help play therapists understand how to structure age-appropriate creative play interventions when using arts with adults.
3. Name 4 benefits of using bilateral scribbling in trauma-focused play therapy with adults.
 
MacKinnon, L. (2012). "The neurosequential model of therapeutics; an interview with Bruce Perry." The Australian and New Zealand Journal of Family Therapy..33:3.pp.210-218. 
 
Chapman, L. (2014). Neurobiologically informed trauma therapy with children and adolescents. NYC, W.W. Norton. 
 
King, J. (2016). Art Therapy, trauma and neuroscience. NYC, Routledge.

AUTO-REGULATION AND PLAY THERAPY INTERVENTIONS: HEALING THE BODY
(Counseling Theory/Practice and the Counseling Relationship)
Jennifer Lefebre, PsyD, RPT-S
 
Objectives:
1. Define the 3 layers of the Dysregulation > Co-regulation > Auto-regulation trajectory as they pertain to the practice of play therapy.
2. Describe 3 of the key dysregulation symptoms in play therapy clients that affect their physical and emotional well-being. 
3. Describe 3 or more movement patterns, gestures, or non-verbal cues that can indicate a child’s psychological experience.
 
Elias, C. L., & Berk, L. E. (2002). "Self-regulation in young children: Is there a role for sociodramatic play?" Early Childhood Research Quarterly, 17(2), 216-238. 
 
Berk, L. E., Mann, T. D., & Ogan, A. T. (2006). "Make-believe play: Wellspring for development of self-regulation." Play= learning: How play motivates and enhances children’s cognitive and social-emotional growth, 74-100. 
 
Whitebread, D., Coltman, P., Jameson, H., & Lander, R. (2009). "Play, cognition and self-regulation: What exactly are children learning when they learn through play?" Educational and Child Psychology, 26(2), 40.

APPROACHES TO SANDTRAY THERAPY FOR ENHANCING THERAPEUTIC ATTUNEMENT
(Counseling Theory/Practice and the Counseling Relationship; Psychological and Psychotherapeutic Theories and Practice; Media and Materials in Treatment)
Marshall Lyles, LPC-S, LMFT-S, RPT-S
 
Objectives:
1. Describe the attunement possibilities in the 6 steps of the sandtray protocol. 
2. Describe 3 creative options for delivering sandtray prompts with diverse client populations. 
3. Describe the interpersonal neurobiology of attunement and its application to the narrative processing of created sandtray worlds.
 
Homeyer, L.  & Sweeney, D. (2017). Sandtray therapy: A practical manual. Royal Oak, MI: Self Esteem Shop. 
 
Badenoch, B. (2008). Being a brain-wise therapist. New York, NY: W.W. Norton & Company. 
 
Lakoff, G. (2014). "Mapping the brain’s metaphor circuitry: Metaphorical thought in everyday reason." Frontiers in Human Neuroscience, 8. doi.org/10.3389/fnhum.2014.00958

RECYCLED FOUND OBJECT FIGURES IN ART THERAPY: PERSONIFICATION & TRANSFORMATION
(Counseling Theory/Practice and the Counseling Relationship; Psychological and Psychotherapeutic Theories and Practice; Media and Materials in Treatment)
Amy Lyons, LCAT, ATR-BC, ATCS
 
Objectives:
1. Describe 1 creative arts-based method for increasing therapeutic engagement in treatment. 
2. Describe 2 aspects of the expressive therapies continuum that are used in the creation of found object artmaking. 
3. Identify 3 ways that the creation of found object artmaking can stir emotion in treatment.
 
Kagin, S. L., Lusebrink, V. B. (1978). "The expressive therapies continuum." Art Psychotherapy, Vol. 5 pp. 171-180, Pergamon Press.
 
Seiden, D. (2001) Mind over matter: The uses of materials in art, education and therapy. Chicago: Magnolia Street Publishers. 
 
Gussak, D. E., Rosal, M. L. (2015) The Wiley Handbook of Art Therapy. Hoboken, NJ: John Wiley & Sons.

FOUR PATHS TO WHOLENESS THROUGH EXPRESSIVE WRITING, POETRY & COMPASSION
(Wellness and Prevention)
Marianela Medrano, PhD, LPC, CPT
 
Objectives:
1. Identify at least 4 paths or inquiries to overcome personal “stuckness.” 
2. Identify and describe 2 ways of creating emotional freedom and psychological flexibility through writing and mindful meditation. 
3. Articulate the 4 steps toward wholeness and describe how writing can be used to facilitate wholeness.
 
Chavis, G. (2011) Poetry and Story Therapy: The Healing Power of Creative Expression (Writing for Therapy or Personal Development. Philadelphia, PA: Jessica Kingsley Publisher. 

Tirch, D. Schoendorff, B. & Silberstein. L. (2014) The Act Practitioner’s Guide to the Science of Compassion: Tools for fostering psychological flexibility.  Oakland, CA. New Harbinger.

Hayes. S.C. (1984) Making Sense of Spirituality. Behaviorism. 12,99-110.
 
DISSOCIATIVE DISORDERS: ASSESSMENT, ALLIANCES & ANGER ISSUES
(Counseling Theory/Practice and the Counseling Relationship; Psychological and Psychotherapeutic Theories and Practice; Media and Materials in Treatment)
Anne Mills, MA, ATR-BC, LPC, LCPAT
 
Objectives:
1. List 1 or more benefits of focusing on pacing and containment in treatment with dissociative patients.
2. Name at least 1 evidence-based finding of distinctive characteristics in the Diagnostic Drawing Series created by people diagnosed with Dissociative Identity Disorder. 
3. Identify 2 typical ways that trauma survivors express anger, aggression, and/or rage.
 
Mills, A. (2009). Teaching affect tolerance to anger-avoidant trauma survivors: An art therapy-based approach using The Anger Protocol. Alexandria, VA:  Guild Press. 
 
Mills, A.  (2011).  "Therapist’s Page:  Adjunctive Therapy."  In Many Voices (Ed. Lynn Waznak), April. p. 6 – 7. Available at http://www.manyvoicespress.org/backissues-pdf/2011_04.p 
 
Mills, A., & Cohen, B. M.  (1993).  "Facilitating the identification of multiple personality disorder through art:  The Diagnostic Drawing Series."  In E. Kluft (Ed.), Expressive and functional therapies in the treatment of multiple personality disorder.  Springfield:  Charles C Thomas.

CREATING MULTIMODAL BIOGRAPHIES FOR INSIGHT & CHANGE: YOUR LIFE IS A PLAYLIST
(Group Dynamics and Counseling)
Lillian Moss, MEd, CAGS, NCC
 
Objectives:
1. Describe at least 3 clinical symptoms that can be addressed using the musical biography intervention. 
2. Identify and describe 2 or more aspects of an aesthetic response to significant songs from one’s life and the role it plays in the therapeutic artmaking process when treating adults who are "stuck" in their lives.
3. Name at least 4 clinical objectives that can be addressed using an intermodal approach that includes musical biographies.
 
Kossak,M. (2015) Attunement in expressive  arts therapy: toward an understanding of embodied empathy. Springfield, Il:Charles C. Thomas. Publisher, LTD. 
 
McNiff, S. (2009) Integrating the arts in therapy: history, theory, and practice. Springfield, Il. Charles C Thomas. Publisher, LTD.
 
Nola, L. (2009) Music listography: your life in (play) lists. San Francisco, Ca: Chronicle Books




LUNCH & LEARNS

TECHNOLOGY & THE CREATIVE ARTS THERAPIES: CLINICAL AND CREATIVE SOLUTIONS ACROSS DISCIPLINES
(Counseling Theory/Practice and the Counseling Relationship; Psychological and Psychotherapeutic Theories and Practice; Media and Materials in Treatment)
Stephanie L. Brooke, PhD, NCC
 
Objectives:
1. State at least 2 ways creative art therapists (art, play, dance, drama, music) are using technology to work with their clients. 
2. State at least 1 way technology and art can be used to enhance the self-esteem of clients. 
3. Describe at least 2 technology practices used in the day-to-day work of creative arts therapists.
 
Glazer, H. (2017). "Play therapy in the digital Age:  Practice and training."  In S.L. Brooke, (Ed.), Combining technology with the creative therapies. Springfield, IL: Charles C. Thomas Publishers. 
 
Hudgins, K. (2017). "Action across the distance in Telemedicine: The therapeutic Spiral Model to treat trauma online." In S.L. Brooke, (Ed.), Combining technology with the creative therapies. Springfield, IL: Charles C. Thomas Publishers.
 
Rubin. S. (2017). "Unpacking shame and  healthy shame: Therapy on the phone or Internet." In S.L. Brooke, (Ed.), Combining technology with the creative therapies. Springfield, IL: Charles C. Thomas Publishers.

ATCB & PROFESSIONAL ART THERAPY CREDENTIALS: WHAT'S NEW, WHAT'S OLD, AND WHAT'S NEXT?
(Counselor Professional Identity and Practice Issues; Professional Issues; Ethics)
Barbara Parker-Bell, PsyD, ATR-BC
 
Objectives:
1. Identify 3 credentials provided by the ATCB to assure art therapist competency in clinical practice with clients of all ages and abilities. 
2. Identify and locate online resources related to ethical codes and disciplinary procedures for art therapists. 
3. State 3 ways that contemporary practices of art therapy (as noted in the 2017 Art Therapy Job Analysis Report) influence the content of the Art Therapy Credentials Board Examination (ATCBE).
 
Art Therapy Credentials Board. (2018). About the ATCBE. Retrieved March 14, 2018 from www.atcb.org 
 
Art Therapy Credentials Board. (2016). Code of ethics, conduct, and disciplinary procedures. Retrieved March 14, 2018 from www.atcb.org 
 
Art Therapy Credentials Board. (2018). About the credentials. Retrieved March 14, 2018 from www.atcb.org
 
SOCIAL MEDIA, AT-RISK ADOLESCENTS & DIGITAL ART THERAPY
Kendra Carlson, MAAT, ATR-BC

 
Objectives:
1. Identify 3 benefits and 3 challenges for working with digital media in the context of art therapy with at-risk youth. 
2. Describe 3 digital art therapy interventions that are effective in working with suicidial adolescents. 
3. State 3 best practices regarding using digital and social media with the at-risk teen population as they relate to ethics of displaying patient art, HIPPA, confidentiality and consent.

Austin, B. (2010). Technology, art therapy and psychodynamic theory: Computer animation with an adolescent in foster care. In C. H. Moon (Ed.),  Materials and media  in art therapy: A critical understanding of diverse artistic vocabularies(pp. 199–213). New York, NY: Routledge.
Garner, R. (2017).  Digital art therapy; Materials, methods and applications . London and  Philadelphia: Jessica Kingsley Publishers. 

Malchiodi, C. A. & Johnson, E. R. (2012). Digital art therapy with pediatric patients.  In C. Malchiodi (Ed.),  Art therapy and health care. (pp. 106-121). New York: Guilford

AFTERNOON WORKSHOPS

SOULCOLLAGE® AS MINDFULNESS PRACTICE FOR ALL AGES: UNLOCKING INNER WISDOM THROUGH IMAGES
(Human Growth and Development)
Lucille Allegretti-Freeman, LCSW-R
Veronica L. Schauder, LCSW
 
Objectives:
1. Identify 2 or more shadow archetypes that impact the therapeutic relationship. 
2. Describe 2 or more ways that shadow archetypes may influence a clinician's thoughts, feelings and behavior in the clinical setting. 
3. Describe 2 or more ways to safely address a client's unconscious shadow parts.
 
Malchiodi, Cathy A (2002). The Soul's Palette. Boston, MA: Shambala Publications, Inc.
Frost, Seena, B. (2010). Soul Collage® Evolving. Santa Cruz, CA: Hannaford Mead Publishers, Inc.
Kabot-Zinn, J (2005). Coming to Our Senses: Healing ourselves and our world through mindfulness. Boston, MA: Hachette Books, Inc.

DREAM MEDICINE & ART IN PSYCHOTHERAPY: TECHNIQUES FROM SHAMANIC PRACTICE
(Counseling Theory/Practice and the Counseling Relationship; Psychological and Psychotherapeutic Theories and Practice; Media and Materials in Treatment)
Jennifer Allen, MS, LMFT, ATR-BC
 
Objectives:
1. Identify the 6 steps to organizing a dream. 
2. Explain to clients how to choose a portal in their dream to re-enter with a journey. 
3. Demonstrate the 5 step, Art for Access process to bridge the dream/journey into waking life.
 
Allen, Pat (2005). Art is a Spiritual Path. Shambhala. 
 
Ingerman, Sandra (2008) Shamanic Journeying: A Beginner's Guide. Sounds True. 
 
Moss, Robert (2012). Dreaming the Soul Back Home: Shamanic Dreaming for Healing and Becoming Whole. New World Library.

ATTUNING TO THE EMBODIMENT OF TRAUMA THROUGH ART & DRAMA: THE FOUR QUADRANTS OF CONNECTION PROCESS
(Counseling Theory/Practice and the Counseling Relationship; Psychological and Psychotherapeutic Theories and Practice; Media and Materials in Treatment)
Ani Buk, MFA, MA, ATR-BC, LP, LCAT
Kat Lee, MA, RDT, CCLS
 
Objectives:
1. State 2 ways that empathy and compassion differ according to recent neuroscience research. 
2. Describe 2 ways that taking a stance of compassionate concern can promote the clinical efficacy of psychotherapists working with trauma survivors. 
3. Identify 4 components of the Four Quadrants of Connection process and apply them to their work with a particular trauma survivor.
 
Buk, A. (2009). "The mirror neuron system and embodied simulation: Clinical implications for art therapists working with trauma survivors." The Arts in Psychotherapy, Special Issue: The Creative Arts Therapies in the Treatment of Trauma, 36, 61 – 74. 
 
Johnson, D. (2014). "Trauma-centered Developmental Transformations." In D. Johnson & N. Sajnani (Eds.), Trauma-informed drama therapy (68-92). Springfield, IL: Charles C Thomas. 
 
Klimecki, O.M., Leiberg, S., Ricard, M., & Singer, T. (2014). "Differential pattern of functional brain plasticity after compassion and empathy training," Social Cognitive and Affective Neuroscience, 9 (6), 873–879. https://doi.org/10.1093/scan/nst060

ECOPSYCHOLOGY & PLAY THERAPY: NATURE AS CO-THERAPIST WITH CLIENTS OF ALL AGES
(Counseling Theory/Practice and the Counseling Relationship; Psychological and Psychotherapeutic Theories and Practice; Media and Materials in Treatment)
Janet Courtney, PhD, RPT-S, LCSW
 
Objectives:
1. Identify 3 elements of nature that can be therapeutically incorporated into play therapy sessions with children, adolescents, and adults. 
2. State 1 play therapy-based intervention that can be done using each of the following nature elements: gemstones, feathers, shells, clay, sand, and the outdoors. 
3. Demonstrate how to implement at least 3 different nature-based interventions with clients in play therapy sessions.
 
Kopytin, A. & Rugh, M. (2017). Environmental Expressive Therapies: Nature-Assisted Theory and Practice. New York, NY: Routledge. 
 
Swank, J. M., & Shin, S. (2015). "Nature-based child-centered play therapy: An innovative counseling approach." International Journal of Play Therapy, 24(3), 151-161. 
 
Louv, R. (2012). The nature principle: Reconnecting with life in a virtual age. Chapel Hill, NC: Algonquin Books.

MINDFUL CLAY TECHNIQUES FOR COMPASSIONATE CLINICAL PRACTICE
(Counseling Theory/Practice and the Counseling Relationship; Psychological and Psychotherapeutic Theories and Practice; Media and Materials in Treatment; Clinical Interventions and Evidence-based Practice)
Michael A. Franklin, PhD, ATR-BC
 
Objectives:
1. Name the 3 applied methods of imaginal mindfulness. 
2. Clarify 2 or more differences between empathy and empathic clinical methods. 
3. Describe 3 empathic skills for forming attuned resonant responses when working with challenging clients in treatment.
 
Bollas, C. (1987). The shadow of the object: Psychoanalysis of the unthought known. New York, NY: Columbia University Press. 
 
Franklin, M. (1999) "Becoming a student of oneself: Activating the witness in meditation and super-vision." American Journal of Art Therapy, 38(1), 2-13. 
 
Franklin, M.A. (2012). "Know thyself: Awakening self-referential awareness through art-based research." Journal of Applied Arts and Health: Special Issue on Art-Based Research: Opportunities & Challenges 3 (1), 87-96.

EXPLORING ANCESTRAL & CULTURAL LANDSCAPES THROUGH MOVEMENT, STORYTELLING AND ART
(Social and Cultural Foundations; Client Populations and Multicultural Competence)
Theresa Benson, PhD, REACE
Topaz Weis
 
Objectives:
1. Describe 1 or more goals for exploring a client's cultural roots in the clinical setting. 
2. Define 2 or more aspects of working with cultural ancestry in treatment that can contribute to the client's sense of personal fulfillment and development. 
3. List 3 or more creative arts techniques that can be used to explore cultural and spiritual heritage in treatment.
 
Levin, E; Levin, Stephen; Labaron, M. (2011) Art in Action, Expressive Arts Therapy and Social Change. 
 
Halprin, D. (2003) The Expressive Body in Life, Art and Therapy.
 
Roth, G. (1997) Sweat your Prayers; The Five Rhythms of Your Soul.

VICARIOUS TRAUMA / VICARIOUS RESILIENCE: CREATIVE & EMBODIED TOOLS FOR TRAUMA WORK
(Counseling Theory/Practice and the Counseling Relationship; Psychological and Psychotherapeutic Theories and Practice; Media and Materials in Treatment)
Brian T. Harris, PhD, MT-BC, LCAT
 
Objectives:
1. Identify 2 signs of vicarious traumatization resulting from working with highly traumatized clients. 
2. Identify 2 personal resources for use in prevention of vicarious traumatization. 
3. Identify 3 creative interventions for exploring resilience with clients.
 
Hernandez, P. Engstrom, D., & Gangsei, D. (2010). "Exploring the impact of trauma on therapists: Vicarious resilience and related concepts in training." Journal of Systemic Therapies, 29(1), 67.
 
Boulanger, G. (2018). "When is vicarious trauma a necessary therapeutic tool?" Psychoanalytic Psychology, 35(1), 60.
 
Sutton, J. P. (2002). Music, music therapy and trauma: International perspectives. Jessica Kingsley Publishers.

TOY THEATRE IN CLINICAL PRACTICE: ANIMATING CHANGE THROUGH NARRATIVE & HUMOR
(Social and Cultural Foundations; Client Populations and Multicultural Competence)
Jennie Kristel, MA, REAT, APTT, RMT
Michael Watson, MA PhD, LCMHC
 
Objectives:
1. Identify at least 2 projective uses of toy/found object theatre. 
2. Describe how to use simple narrative tools to identify personal core issues. 
3. Identify 1 clinical objective that can be addressed through examination of personal and collective narratives using toy theatre.
 
Moreno, Jacob Levy (1934, Revised edition 1953). Who Shall Survive? Beacon, NY: Beacon House 
 
Narrative Practice: Continuing the Conversation, Michael White, W.W. Norton, NY 2011.

Asher, R. (2009). "Radical Puppets and the Language of Art." Art Education, Vol. 62, No. 3 (May 2009), pp. 6-12

TREATMENT OF EATING DISORDERS THROUGH BODY POSITIVITY & SOCIAL ACTION ART THERAPY
(Group Dynamics and Counseling)
Emily A. Reim Ifrach, MAAT, CEDCAT, REAT, ATR-BC, LPC, NCC
 
Objectives:
1. State and describe social action art therapy, the body positive movement, and its intersectionality with current cultural issues.
2. List a step-by-step process for integrating body positivity into the treatment of people with eating disorders, poor body image, low self-esteem, and body dysmorphic thoughts. 
3. Describe how to incorporate totem making into the treatment of people with eating disorders, poor body image, low self-esteem, and body dysmorphic thoughts.
 
Brumberg, J. J. (2000) Fasting Girls: The History of Anorexia Nervosa. New York: Vintage Books. 
 
Howie, P., Prasad, S., & Kristel, J. (2013). Using art therapy with diverse populations: Crossing cultures and abilities. London: Jessica Kingsley. 
 
Julier, L. (1994). "Private texts and social activism: Reading the Clothesline Project." English Education, 26, 249-259.

MAKING ALTERED BOOKS IN ART THERAPY TO EXPLORE GENDER IDENTITY: WHICH ARE YOU TODAY?
(Social and Cultural Foundations; Client Populations and Multicultural Competence)
Natasha Elena Shapiro, ATR-BC, LCAT
 
Objectives:
1. Define 4 or more terms involving non-binary gender identity and describe at least 2 common misconceptions therapists may have about them. 
2. Identify a minimum of 2 components of invalidating environments that cause trauma issues for this client population. 
3. Identify and describe 2 or more ways to facilitate the use of an altered book in gender identity exploration.
 
Chilton, Gioia. (2011). "Altered Books in Art Therapy with Adolescents." Art Therapy: Journal of the American Art Therapy Association. 24. 10.1080/07421656.2007.10129588. 
 
The LGBT Case Book, Edited by Petros Levounis, M.D., M.A., Jack Drescher, M.D., and Mary Barber, M.D. 2012. 
 
Trans Bodies, Trans Selves: A Resource for the Transgender Community, by Laura Erickson-Schroth,  Oxford University Press, Jun 10, 2014.

ILLUMINATED MANDALAS AND THE CORNELL APPROACH: HEALING IMAGERY EMERGES FROM THE DARK
(Counseling Theory/Practice and the Counseling Relationship)
Rosalie Justine Skakum, ATR-BC, RYT-500
 
Objectives:
1. Identify 3 or more ways in which the practice of creating a mandala can enhance an overall sense of health and well being.  
2. Facilitate 3 separate techniques to achieve bold and illuminated imagery and describe at least one clinical benefit of the creation of such imagery.  
3. State instances in which this creative practice can be used therapeutically with clients.
 
Jean Davis, B. (2015). Mindful Art Therapy: A Foundation For Practice. Philadelphia, PA: Jessica Kingsley Publishers 
 
Cornell, J. (1994). Mandala: Luminous symbols for healing. Wheaton, IL: Quest Books. 
 
Tucci, G. (2001) The Theory and Practice of the Mandala. Dover Publications.

SELF-HYPNOSIS & NEURO-LINGUISTIC PROGRAMMING TO ACCESS CREATIVITY & CALM
(Psychological and Psychotherapeutic Theories and Practice; Wellness and Prevention)
Audrey Sussman PhD, LCSW, NBCCH, LMHC
Sara Salem
 
Objectives:
1. Identify and describe 2 basic self-hypnotic tools for calming the mind and body to enhance focus and help clients achieve calm.
2. List 3 types of mind-body approaches that can be taught to clients for promoting creative flow and calm for taking on new topics in treatment and facing challenges in life.
3. Identify the 5 components of the no-fail goal-setting formula for moving from procrastination toward achieving goals in treatment.
 
Kihlstrom, J. F. (2012). Neuro-Hypnotism: Prospects for Hypnosis and Neuroscience. PubMed Central. 365-374. Retrieved February 1, 2014. 
 
Cameron, J. (1992). The Artist’s Way. Penguin Group. 
 
Bandler, R. (1985). Use your brain for a change. Real People Press.

CREATIVE ENGAGEMENT IN DEMENTIA CARE: A STRENGTH-BASED POSITIVE PSYCHOLOGY APPROACH
(Social and Cultural Foundations; Client Populations and Multicultural Competence)
Andrea Szucs, RDT, SIFI, LMSW
Jodie Berman, BFA
 
Objectives:
1. Identify 3 symptoms of dementia and describe how they affect a person's cognitive and social ability to engage in meaningful activities. 
2. Identify, demonstrate, and practice 5 communication approaches that can enhance client engagement and participation (informed by Positive Psychology).
3. Describe and apply 3 action methods modified for persons with dementia that facilitate positive interaction and enhance cognitive functioning, autonomy, and relatedness.
 
Tomasulo, D., & Szucs, A. (2015). "The ACTing cure: evidence-based group treatment for people with intellectual disabilities."  Dramatherapy, 37(2-3), 100-115.? 
 
Bailey, S. D. 2010. Barrier-Free Theatre: Including Everyone in Theatre Arts—In Schools, Recreation, and Arts Programs—Regardless of (Dis)Ability. Enumclaw, WA: Idyll Arbor, Incorporated.
 
Zeisel, J. (2009). I'm still here: A breakthrough approach to understanding someone living with Alzheimer's. Penguin.

DRUMMING FOR CLINICIANS: STRENGTHENING ALLIANCES, CLINICAL GOALS, AFFECT REGULATION & MORE
(Clinical Interventions and Evidence-based Practice)
Dan Walsh, MS, MT-BC
 
Objectives:
1. Define the iso principle in relation to drumming experiences with clients. 
2. Identify 2 or more improvisational techniques that can be used with clients during drumming experiences in treatment. 
3. List 2 or more typical clinical goals that improvisational drumming can be used to facilitate in treatment.
 
Aigen, K. (2005). Music centered music therapy. Gilsum, NH: Barcelona Publishers. 
Bruscia, K. E. (1987). Improvisational models of music therapy. Springfield, IL: Charles C. Thomas Publishers. 
Nordoff, P., & Robbins, C., (2007). Creative music therapy: A guide to fostering clinical musicianship. Gilsum, NH: Barcelona Publishers.

MONEY TALKS: EMOTIONAL CURRENCY, ABUNDANCE & THE HIGH VALUE INNER LIFE
(Human Growth and Development)
Julie Wells LCSW, CP, TEP
 
Objectives:
1. Describe 3 or more ways money operates and functions as "emotional currency". 
2. State 2 ways to use action methods to help clients with financial struggles create healthier, "high value" messages about money and abundance. 
3. Describe 2 or more approaches to assist clients with financial struggles to differentiate between their rational and emotional connection to money.
 
Levinson, K. (2011). Emotional Currency: A Woman's Guide to Building a Healthy Relationship with Money. Random House LLC.
 
Hay, L. (2006). Receiving Prosperity. [DVD] Carlsbad: Hay House.
 
Moreno, JL. (1946). Psychodrama, Vol.1. Beacon, NY: Beacon House.

AESTHETIC EMPATHY IN THE ART AND TEACHING OF FRIEDL DICKER-BRANDEIS
(Counseling Theory/Practice and the Counseling Relationship; Psychological and Psychotherapeutic Theories and Practice; Media and Materials in Treatment)
Linney Wix, PhD, ATR-BC
 
Objectives:
1. Name 2 characteristics of aesthetic empathy. 
2. Describe the role of the named characteristics in therapeutic art experiences. 
3. Name 2 benefits of FDB’s art teaching approach for therapeutic and educational practice.
 
Dutlinger, A., Ed.  (2001). Art, music, and education as strategies for survival: Theresienstadt  1941-45. New York: Herodias.  
 
Wix, L. (2010). Through a narrow window: Friedl Dicker-Brandeis and her Terezín students. Albuquerque, NM: University of New Mexico Press. 
 
Wix, L. (2009). "Aesthetic Empathy in Teaching Art to Children: The Work of Friedl Dicker-Brandeis in Terezin," Art Therapy: Journal of the American Art Therapy Association 26 n. 4: 152-158.

INTERSECTIONALITY IN PHENOMENOLOGICAL ART THERAPY GROUPS: CREATING INCLUSIVE DIVERSITY
(Counseling Theory/Practice and the Counseling Relationship; Psychological and Psychotherapeutic Theories and Practice; Media and Materials in Treatment)
Yejin Yoo, MFA, MPS, ATR-BC
 
Objectives:
1. Describe 3 elements of intersectionality that can create a whole that is different from its component identities. 
2. Identify 2 benefits of phenomenological intuiting in working with adult clients with diverse cultural backgrounds. 
3. State 1 or more ways you will be able to incorporate the experience of this session into your current clinical practice.
 
Betensky, M. (1995). What do you see?: Phenomenology of therapeutic art expression. UK: Jessica  Kingsley Publishers.
 
Collins, P. H. (2015). "Intersectionality’s definitional dilemmas." Annual Review of Sociology. 41:1-20. 
 
Merleau-Ponty, M. (2014). "Phenomenology of perceptions." In D. Landes (Ed.). London & NY:  Routledge. (Original work published 1945)











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