CONTINUING EDUCATION CATEGORIES  1. Counseling Theory/Practice and the Counseling Relationship 2. Wellness and Prevention 3. Group Dynamics and Counseling 4. Clinical Interventions and Evidence-Based Practice 5. Psychological and Psychotherapeutic Theories and Practice 6. Media and Materials in Treatment 7. Social and Cultural Foundations 8. Client Populations and Multicultural Competence 9. Human Growth and Development 10. Cross-Disciplinary Offerings from Behavioral and Social Sciences 11. Assessment 12. Counselor Professional Identity and Practice Issues

THURSDAY, NOVEMBER 11, 2021

THURSDAY MASTER CLASSES

Addressing Attachment Trauma with all Ages Using Sand-Based Play Therapy
Marshall Lyles, LPC-S, LMFT-S
Tammi Van Hollander, LCSW, RPT-S
4, 5, 6

Objectives:
1. Identify 2 or more trauma-informed elements regarding basic sand and play therapy materials and protocols.
2. Describe the intersection of attachment theory, trauma-informed principles and sand-based play therapy.
3. List 2 or more attachment trauma healing principles based on the sand-based play therapy case study presented in this session.
4. Name 2 or more attachment trauma healing principles in a sand-based play therapy session.
5. Describe 2 methods of using creative play therapy reflections that increase the client's embodied awareness of their thought and feelings.
6. Identity 3 or more directive play therapy activities incorporating sand that would correspond to different clinical presentations.

1. Badenoch, B. (2017). The Heart of Trauma: Healing the Embodied Brain in the Context of Relationships (Norton Series on Interpersonal Neurobiology). WW Norton & Company.
2. Homeyer, L. E., & Sweeney, D. S. (2017). Sandtray therapy: A practical manual.
3. Schore, A. (2019). Right brain psychotherapy.

An Archetypal Art Therapy Approach to Tending Grief: Uncovering the Mysteries of Brokenness
Josie Abbenante, ATR-BC, LPAT
Linney Wix, PhD, ATR-BC
4, 5, 6, 9, 10

Objectives:
1. Describe how making art can facilitate the process of “seeing and hearing" grief more clearly.
2. Name 2 ways to explore artwork through writing that will facilitate clients’ trust in the therapeutic relationship.
3. Describe 2 or more “gadgets” used in listening for metaphor in artwork and/or life situations when working with clients of all ages.
4. Identify 1 or more ways that lingering—slowing down and paying attention in the therapeutic relationship—enhances that relationship.
5. List 1 or more methods of making and writing when working with issues of grief in clinical practice.
6. State 1 or more ways in which "hearing" the metaphor in the image can help a client to work more effectively with life circumstances in treatment.

Olson, S. (2009). By Grief Transformed: Dreams and the Mourning Process. New Orleans: Spring Journal.
Romanyshyn, R. (2014). Leaning Toward the Poet: Eavesdropping on the Poetry of Everyday Life. Bloomington, IN: iUniverse.
Sadak, B. & Weiser, L. (2017) Acknowledging the Archetypal Elements of Grief. Psychological Perspectives: A Quarterly Journal of Jungian Thought, vol. 60/4.

Assessing and Treating Suicidality Through Expressive Techniques & Play Therapy
April Duncan, LCSW, RPT
4, 8, 11

Objectives:
1. List 2 or more signs of suicidal ideation and thoughts in clients of all ages.
2. Identify 3 play therapy interventions to support clients who display signs of self-harm.
3. Name 4 play therapy interventions to support clients through suicidality.
4. List 2 or more steps for safety planning in the playroom.
5. Describe unique cultural considerations when supporting clients from marginalized communities who are experiencing suicidality.
6. Describe 4 mindfulness techniques to support adult clients through suicidality.

Children of Divorce: Play Therapy & Expressive Arts Strategies for Living in the Divided Kingdom
Ann Beckley-Forest, LCSW, RPT-S
1, 4, 6, 8

Objectives:
1. Explain 2 ways to use puppets as an assessment tool and family play therapy intervention.
2. Describe 2 ways that play therapists conceptualize how children in divorcing family systems experience loyalty binds as a form of attachment trauma and disruption.
3. Apply 3 playful therapeutic directives using movement to rebuild attunement and co-regulation in the parent-child dyad.
4. Analyze the themes of a child client's play to amplify and suggest metaphors to gradually approach traumatic material related to the parenting system.
5. Make use of 1 directive prompt in the sand tray as a play therapy strategy to normalize and clarify the loyalty binds experienced by the child.
6. Describe the 3-step process to use expressive art and a bookmaking narrative approach with child clients in the digestion of traumatic events which have occurred high conflict and divorcing family systems.

Gil, E. (2014) Play in Family Therapy, 2nd Ed. New York: Guilford.
Papernow, P. (2013) Surviving and thriving in stepfamily relationships: What works and what doesn’t’. New York: Routledge.
Gaskill, R. & Perry, B. (2014) The neurobiological power of play: Using the Neurosequential Model of Therapeutics TM to guide play in the healing process. In C. Machoidi & D. Crenshaw, (Eds.) Creative arts & play therapy for attachment trauma. New York: Guilford Press.
Brand, C., Howcroft, G. & Hoelson, C.N. (2017) The voice of the child in parental divorce: implications for clinical practice and mental health practitioners, Journal of Child & Adolescent Mental Health, 29:2,169-178, DOI: 10.2989/17280583.2017.1345746
Hirschfeld, M. & Wittenborn, A. (2016) Emotionally Focused Family Therapy and Play Therapy for Young Children Whose Parents Are Divorced, Journal of Divorce & Remarriage, 57:2, 133-150, DOI: 10.1080/10502556.2015.1127878
Kestly, T. A. (2016). Presence and play: Why mindfulness matters. International Journal of Play Therapy, 25(1), 14–23. https://doi.org/10.1037/pla0000019
Schottelkorb, A. A., Swan, K. L., & Ogawa, Y. (2015). Parent consultation in child-centered play therapy: A model for research and practice. International Journal of Play Therapy, 24(4), 221.

Clay Work for Safe Risk-Taking, Enhanced Expression & Trust-Building
Hope Irion, MA, ATR-BC, LPC
Abbie Kasoff
5, 6

Objectives:
1. Identify at least 3 therapeutic benefits of incorporating clay work into art therapy and psychotherapy treatment.
2. Describe 3 ways that clay work can facilitate and strengthen community-based partnerships.
3. Identify 3 or more important elements of processing completed artwork, that are unique to clay work.
4. Explain 3 ways to use clay to facilitate therapeutic work on the Expressive Therapies Continuum (ETC).
5. Practice 1 or more ways of using clay in therapy to strengthen relationships and build trust in groups, families, and dyads.
6. Practice 1 or more ways of using clay to process strong emotional content with individuals who feel “stuck” or have experienced trauma, grief, and/or loss.

Hinz, L. (2009a). Expressive therapies continuum: A framework for using art in therapy. New York: Routledge.
Moon, C. H. (2002). Studio art therapy: Cultivating the artist identity in the art therapist. London: Jessica Kingsley Publishers.
Sholt, M., & Gavron, T. (2006). Therapeutic qualities of clay-work in art therapy and psychotherapy: A review. Art Therapy: Journal of the American Art Therapy Association, 23(2), 66-72.

Drumming for Mood Regulation, Grounding & More: Rhythmic Strategies for Clinicians
Dan Walsh, MS, MT-BC
3, 5, 8

Objectives:
1. State 3 ways to use breath and voice as a physical warm-up to develop group cohesion within psychotherapy groups.
2. Identify 3 group psychotherapy ice breaker activities that facilitate affect regulation through basic rhythmic skills.
3. List 3 kinds of improvisational techniques to facilitate coping skill development with different types of clinical groups.
4. Identify 3 techniques for moderating group drumming activity in therapy groups with people of all ages.
5. Identify 3 types of improvisational techniques for enhancing non-verbal communication in therapy groups.
6. Describe 3 brain-based drumming activities that engage and invigorate therapy groups while stimulating key mind-body connections in group members.

Bruhn, K. T. (2014). "Why drums and drum circles?" Retrieved from ttp://www.remo.com/portal/pages/health_rhythms/library_article23.html
Friedman, R. L. (2000). The healing power of the drum: A psychotherapist explores the healing power of the drum. Reno, NV: White Cliff Media.
Tomaino, C. M. (2008). "Using rhythmic auditory stimulation for rehabilitation." In J. Berger & G. Turow (Ed), Music, science and the rhythmic brain (pp. 111-121). London & New York: Routledge.

Expressive Arts Therapy, the Discipline: An Immersive Experience in this Multimodal Practice
Nicole Allen, MS, LPC, RPT, NCC
Peyton Cram, MSEd, LPC, REAT
Ramona Skriiko, MSEd, LPCC, SEP, REAT
1, 5, 6

Objectives:
1. Define “multimodal” expressive arts therapy.
2. Describe a rationale for the use of expressive arts therapy in the treatment of stored trauma.
3. Describe the concept of “integration” in expressive arts therapy.
4. Identify 2 ethical implications in the use of expressive arts therapy in clinical supervision.
5. List 2 adaptations of expressive arts therapy with a chosen population-of-focus.
6. Describe 3 multicultural implications when practicing expressive arts therapy.

Gladding, S. T. (2016). The creative arts in counseling (5th ed.). American Counseling Association.
Malchiodi, C. A. (2020). Trauma and expressive arts therapy: Brain, body, & imagination in the healing process. New York, NY: The Guilford Press.
Perryman, K., Blisard, P., & Moss, R. (2019). Using Creative Arts in Trauma Therapy: The Neuroscience of Healing. Journal of Mental Health Counseling, 41(1), 80–94.

Facilitating Sensory Experiences Using Dimensional Art: Strategies for Improving Treatment Efficacy
Rowena Talusan-Dunn, PhD, ATR, LCAT
Janice Rose-Gill, LPC, LCAT, ATR-BC
1, 5, 6

Objectives:
1. State 1 or more ways our senses contribute to the awareness of the world.
2. Describe 2 ways our senses enhance our ability to influence our brain’s level of functioning.
3. List 3 or more types of materials that engage all 6 senses.
4. List 2 or more multi-dimensional experientials that engage all 6 senses.
5. Identify 1 experiential with a heightened focus on each of the 6 senses.
6. Describe 2 or more ways to use psycho-education with clients to enhance their awareness of how using the senses can benefit their overall functioning.

Levine, A. Peter (1997). Waking the tiger, Healing Trauma. Berkley, California: North Atlantic Books.
Van der Kolk, Bessel A. 2014. The body keeps the score: brain, mind, and body in the healing of trauma.
McNiff, S. (1998). Trust the process: An artist's guide to letting go. Boston: Shambhala.

Integrating the Inner Child’s Grief: Narrative Reconstruction Through Embodied Collage
Renee Turner, PhD, LPC-S, RPT-S
1, 5, 6

Objectives:
1. Describe the connection between ACES and disenfranchised grief in non-death losses when working with adult clients in therapy.
2. Explain the value of using the expressive therapies to explore disenfranchised grief.
3. Explain how inner child work can be introduced with adults in treatment and when it is contraindicated.
4. Identify 2 components of guided imagery intended to evoke the inner child’s grief.
5. Identify at least 2 methods for working with the inner child’s grief in here-and-now counseling and psychotherapy sessions.
6. List 2 or more benefits of meaning-making and narrative reconstruction when working with the inner child state of adult clients in treatment.

Harris, D. L. (Ed.). (2020). Non-death loss and grief: Context and clinical implications. Routledge.
Homer, E. S. (2015). Piece work: Fabric collage as a neurodevelopmental approach to trauma treatment. Art Therapy: Journal of the American Art Therapy Association, 32(1), 20–26. http://dx.doi.org/10.1080/07421656.2015.992824
Malchiodi, C. A. (2020). Trauma and expressive arts therapy: Brain, body, and imagination in the healing process. New York, NY: Guilford Press.

Introduction to Voice Dialogue: Engaging the Constellation of Selves for Clinical Success
Bridgit Dengel Gaspard, LCSW
4, 7, 10

Objectives:
1. Identify 2 primary selves.
2. Name 2 disowned selves.
3. List 3 traits of a Primary Self.
4. State 3 traits of a Disowned Self.
5. Explain 2 compassionate reasons motivating dysfunctional behavior, from the Self’s point of view.
6. Describe 3 clinical applications of Voice Dialogue.

Stone, H., & Stone, S. L. (1989). Embracing Our Selves: The Voice Dialogue manual. Novato, CA: New World Library.
Berchik, Z.E., Rock, A.J., Friedman, H. (2016), “Allow me to introduce my selves: an introduction to and phenomenological study of voice dialogue therapy”, The Journal of Transpersonal Psychology, Vol. 48 No. 1, pp.88-112. (https://www.voicedialogueconnection.com/wp-content/uploads/2016/11/trps-48-16-01-88.pdf)
Fadiman, J., & Gruber, J. (2020). Your Symphony of Selves: Discover and Understand More of Who We Are. Rochester, VT: Park Street Press.

The Personal Hope Book: A Container of Resilience for Teens & Adults
Erin Partridge, PhD, ATR-BC
5, 6, 8

Objectives:
1. State 3 reasons to adapt the Hope Book Process to the client and context of the population.
2. Describe the technique to bind a book so that it can be taught to a client.
3. Define hope as it pertains to counseling and psychotherapy.
4. Articulate 3 or more reasons for focusing on hope in clinical and community work.
5. Explain how to create a measurable, actionable plan for adapting the Personal Hope Book process into clinical practice.
6. Explain the importance of structure and ritual in the Personal Hope Book Process in both clinical and non-clinical applications.

Elkins, A. E., & Adamson, G. (2020). Typestruck: On Women and Writing Machines. Modernism/Modernity, 5(2). https://modernismmodernity.org/forums/posts/elkins-adamson-typestruck
Gustafson, E. (2016). Art Therapy and Trauma Focused-Cognitive Behavioral Therapy (Master’s Thesis) Adler Graduate School, Minnetonka, MN, United States of America. Retrieved from: https://alfredadler.edu/sites/default/files/Emily%20Gustafson%20MP%202016.pdf
McKee, A. (2018). How to be happy at work: the power of purpose, hope, and friendships. La Vergne: Harvard Business Review Press.

Using Monster & Folkloric Imagery in Arts Therapies for Creating Transformational Narratives
Dan Summer, PhD, ATR-BC, LCAT
Laura Teoli, PhD, ATR-BC, LPC, LCAT
Devon Govoni, PhD, LMHC, ATR-BC, REAT
5, 6, 9

Objectives:
1. Define 3 or more components of the Expressive therapies continuum (ETC) that can be applied to clinicians current theoretical approaches.
2. Identify how symbolic representation/s of monsters or folklore are manifested through embodied dialogue.
3. Identify 3 components of storytelling currently being used within the expressive arts therapies to transform narratives in clinical, educational and research settings.
4. Identify 1 or more strategies to improve self care practices.
5. Define externalizing reactivity and renegotiation of relationships as it relates to clinical/professional practice.
6. Identify 1 or more ways to dialogue with art imagery and better understand self-perception.

Adamski, Adam (2011), ‘Archetypes and the collective unconscious of Carl G. Jung in the light of quantum psychology’, Neuroquantology, 9:3, pp. 563–571
Bichi, E. L. (2012), ‘Countertransference: A contemporary metapsychological view on its intrapsychic, interpsychic, intersubjective, and objective aspects’, International Forum of Psychoanalysis, 21:3&4, pp. 146–149.
Bolea, Ş. (2016), ‘The persona and the shadow in analytic psychology and existentialist philosophy’, Philobiblon, 21:1, pp. 84–94

THURSDAY EVENING SESSIONS

Drumming Together to Enhance Creativity & Confidence
Dan Walsh, MS, LCAT, MT-BC
1, 3, 6

Objectives:
1. Describe 3 group ice breaker activities to facilitate basic rhythmic skills, promote group teamwork, and improve focus and concentration when working with clients in treatment.
2. Describe 3 techniques for moderating group drumming activity in therapy groups with people of all ages.
3. Identify 3 types of improvisational techniques for enhancing non-verbal communication and increasing independent behavior in therapy groups.

Friedman, R. L. (2011). The healing power of the drum: A journey of rhythm and stories. Reno, NV: White Cliffs Media.
Hull, A. (1998). Drum circle spirit: Facilitating human potential through rhythm. Tempe, AZ: White Cliffs Media.
Bruhn, K. T. (2014). Why drums and drum circles? Retrieved from http://www.remo.com/portal/pages/health_rhythms/library_article23.html

Emotional Agility and Art Therapy
Mariya Keselman-Mekler, ATR-BC, LPC
1, 5, 6

Objectives:
1. Define emotional agility as it pertains to 4 art therapy and counseling theories.
2. Describe how to use emotional agility and creativity with various clinical populations to support their emotional wellness and quality of life.
3. List 3 creative arts interventions that can be used in clinical practice with teens and adults that draws upon this theory.

David, S. (2016). Emotional Agility. New York, NY: Penguin Random House LLC
Eger, E. (2020). The Gift. New York, NY: Simon & Schuster, Inc.
Capuzzi, D. & Stauffer M. D. (Eds.) (2016) , Counseling and psychotherapy: Theories and interventions. Alexandria, VA: American Counseling Association.

Spiritual Art Therapy: Connecting the Mind/Body/Spirit in Practice
Ellen Horovitz, PhD, ATR-BC, LCAT, ERYT 500, C-IAYT
1, 4, 6

Objectives:
1. Identify when to use/not use the Belief Art Therapy Assessment with patients.
2. List 2 or more parameters when working with patients in a spiritually-oriented therapeutic session.
3. State the appropriate circumstances for invoking spirituality, mindfulness, and body-oriented therapeutics in session (including touch).

Spring, D. (2004) Thirty-year study links neuroscience, specific trauma, PTSD, image conversion, and language translation. Art therapy, Journal of the American Art Therapy Association 21(4) pp.200-209.
Horovitz, E.G. (2021). Head and HeART: Yoga Therapy & Art Therapy Interventions for Mental Health Practitioners. Pencaitland, Scotland: Handspring Publishers
Horovitz, E.G. (2017). Spiritual art therapy: an alternate path. (Third Edition), Springfield. IL: Charles C Thomas.

Superhero Grief: Secret-Identity and the Transformative Power of Mask Making
Jill A. Harrington, DSW, LCSW
Sharon Strouse, MA, ATR-BC, LCPAT
2, 5, 9

Objectives:
1. Explain how modern superhero narratives are incorporated as a creative, complementary strategy in grief counseling.
2. Identify 2-5 challenges with identity that death-loss poses to the bereaved.
3. Describe how mask-making from a grief-informed approach is grounded in restorative retelling, meaning reconstruction, and the Dual Process Model.

Captari, L. E., Riggs, S. A., & Stephen, K. (2021). Attachment processes following traumatic loss: A mediation model examining identity distress, shattered assumptions, prolonged grief, and posttraumatic growth. Psychological trauma : theory, research, practice and policy, 13(1), 94–103. https://doi.org/10.1037/tra0000555
Harrington, J.A., Neimeyer, R.A., (2021) Superhero Grief: The Transformative Power of Loss. Routledge.
Walker, M.S., Kaimal, G., Gonzaga, A.M.L., Myers-Coffman. K.A., & DeGraba, T.J. (2017). Active-duty military service members’ visual representations of PTSD and TBI in masks, International Journal of Qualitative Studies on Health and Well-being, 12:1, DOI: 10.1080/17482631.2016.1267317

FRIDAY, NOVEMBER 12, 2021

FRIDAY MASTER CLASSES

Earth Medicine: Partnering with the Natural World to Facilitate Healing
Cherie Spehar, LCSW, RPT-S, ACTP
1, 2, 6, 7

Objectives:
1. Explain 1 or more differences between ecotherapy, ecopsychology, and ecospirituality.
2. Name the 5 pillars of Earth Medicine Interconnectedness as the basis for eco healing in therapy.
3. Identify 2 or more healing tasks associated with the four directions of the Life Wheel as it pertains to counseling and psychotherapy.

Jordan, Martin, and Joe Hinds. Ecotherapy: Theory, Research and Practice. Macmillan Education/Palgrave, 2016.
McGeeney, Andy. With Nature in Mind: The Ecotherapy Manual for Mental Health Professionals. Jessica Kingsley Publishers, 2016.
Bratman, G. N., Anderson, C. B., Berman, M. G., Cochran, B., de Vries, S., Flanders, J., Folke, C., Frumkin, H., Gross, J. J., Hartig, T., Kahn, P. H., Jr, Kuo, M., Lawler, J. J., Levin, P. S., Lindahl, T., Meyer-Lindenberg, A., Mitchell, R., Ouyang, Z., Roe, J., Scarlett, L., … Daily,

“True” DBT with Art Therapy: Structured Treatment for Troubled Teens and Their Families
Katie K. May, NCC, LPC, DBT-LBC
Kaitlin Babyak, MA, ATR-BC, LPC
Hannah Heffner, ATR-BC, LPC
Samantha Rock, MS, CTRS
Emma Werner, LPC intern
1, 3, 4, 8

Objectives:
1. Describe the foundational theory of Dialectical Behavior Therapy (DBT) and how it applies to working with adolescents.
2. Describe the steps for delivering a Dialectical Behavior Therapy (DBT) skills group with a creative DBT group activity.
3. Name at least 1 Dialectical Behavior Therapy (DBT) art therapy intervention.
4. List 2 or more DBT validation and problem solving strategies for adolescents and families in treatment.
5. Identify at least 2 important issues in DBT skills group management and dynamics required to run groups effectively.
6. Describe the necessary steps required to integrate creative modalities into the evidence-based and adherent model of DBT.

Linehan, M., M., (2014). DBT Training Manual. New York, NY: The Guilford Press.
Rathus, J. H., & Miller, A. L. (2015). DBT®skills manual for adolescents. Guilford Press.
Clark, S. M. (2016). DBT-Informed Art Therapy. Jessica Kingsley Publishers.

Creating Altered Books for Client Self-Care
Mindy Jacobson-Levy, MCAT, LPC, ATR-BC, DVATA HLM
1, 2, 5, 6

Objectives:
1. State 2 reasons that foundation building in an altered book is critical to resilience, and complete 2 art methods that foster resilience.
2. List and explain a minimum of 2 foundation-building methods.
3. Identify 3 stages of creating an altered book and 2 ways that this can be used in individual and community treatment settings.
4. Describe 2 art processes that foster self-expression in a contained and psychologically safe way.
5. Identify at least 5 of the 10 psychological and behavior effects that may occur individually/collectively during catastrophic times.
6. State 2 circumstances under which altered book making might be considered inappropriate for use in clinical treatment.

Chilton, G. (2007). Altered Books in Art Therapy with Adolescents. Art Therapy: Journal of the American Art Therapy Association, 24(2) pp. 59-63.
Cobb, R. A. & Negash, S. (2010). Altered Book Making as a Form of Art Therapy: A Narrative Approach. Journal of Family Psychotherapy, 21(1), 54-69. doi:10.1080/08975351003618601.
Onarheim, B., & Friis-Olivarius, M. (2013). Applying the neuroscience of creativity to creativity training. Frontiers in Human Neuroscience, 7, 1-10. doi:10.3389/fnhum.2013.00656

Doll Making in the Treatment of Traumatic Loss
Sharon Strouse, MA, ATR-BC, LCPAT
Sarah Vollmann, ATR-BC, LICSW
4, 6, 9

Objectives:
1. List 3 reasons why creative and expressive interventions such as doll making are clinically effective with those suffering traumatic loss.
2. Describe 3 aspects of meaningreconstruction, an imaginative process that addresses the "shattered self."
3. List the 3 tenets of Attachment-Informed Grief Therapy in which the doll making process and tangible product are in service to the continuing bond to the deceased.
4. Describe 3 benefits of play therapy that are inherent in art therapy doll making.
5. Describe 3 attachment styles that may be apparent in our grieving patients when the attachment behavioral system is triggered.
6. List 3 ways in which art therapy dolls can facilitate meaning making for bereaved patients.

Klass, D., Silverman, P.R., & Nickman, S.L. (1996). Continuing Bonds: New Understandings of Grief. Philadelphia, PA: Taylor & Francis.
Kosminsky, P.S. & Jordan, J.R. (2016.) Attachment Informed Grief Therapy. New York: Routledge.
Stance, S.M. (2014.) Therapeutic Doll Making in Art Psychotherapy for Complex Trauma. Art Therapy: Journal of the American Art Therapy Association, 31(4), 12-20.

Enhancing Everyday & Personal Creativity: Multimodal Approaches for Clinical Transformation
Paul Nolan, MCAT, MT-BC, LPC
Stephanie Nolan
5, 6, 9

Objectives:
1. Describe the differences between eminent creativity and everyday creativity.
2. State 1 clinically relevant benefit for a client's enhanced access to everyday creativity.
3. State 2 mental processes associated with creativity.
4. Describe the difference between divergent and convergent thinking.
5. List 2 blocks to creativity.
6. State 1 client benefit from engaging in everyday creativity.

Silvia, P. J., Beaty, R. E., Nusbaum, E. C., Eddington, K. M., Levin-Aspenson, H., & Kwapil, T. R. (2014). Everyday creativity in daily life: An experience-sampling study of “little c” creativity. Psychology of Aesthetics, Creativity, and the Arts, 8(2), 183–188. https://doi.org/10.1037/a0035722
Richards, R. (.2018 ). Everyday creativity and the healthy mind. Palgrave Macmillan.
Runco, M. (2014). Creativity Theories and themes: research, development and practice (2nd Ed.), Academic Press.

From Kalffian Sandplay to Narrative Sand Therapy: Clarifying Clinical Competencies
Dee Preston-Dillon, PhD Tim Mewmaw, MS
1, 5, 6

Objectives:
1. Identify 3 guiding principles for safe use of symbols in sand across the spectrum of specializations: Sandplay, Sandtray, Narrative Sand Therapy.
2. Explain 2 differences relating to culture and diversity that are due to the differences between Sandplay and Narrative Sand Therapy.
3. Describe 3 core ideas regarding Sandplay and Narrative Sand Therapy that impact how therapists respond to clients and their sand scenes.
4. State 2 competencies that enhance client-clinician engagement when using symbols in sand that are particularly important in Sandplay and in Narrative Sand Therapy.
5. List 2 clinical situation for using therapeutic metaphor/ archetypes in Sandplay and Narrative Sand Therapy.
6. Name 2 ethical principles that guide a therapist’s use of symbols in sand across disciplines.

Boik, B. L. & Goodwin. E. A. (2000). Sandplay Therapy: A step-by-step manual for psychotherapists of diverse orientations. New York, NY: Norton and Company.
Homeyer, L.E., & Sweeney, D.S. (1998). Sandtray: A practical manual. Royal Oak, MI: The Self Esteem Shop.
Turner, B. A. (2005). The Handbook of Sandplay Therapy. Cloverdale, CA: Temenos Press.

From Resistance to Resilience: Dynamic Arts Approaches for Reaching Difficult Clients
Lucy Barbera, PhD, LCAT
5, 6, 8

Objectives:
1. Identify at least 3 non-verbal, arts-based methods to use therapeutically with “difficult to reach” clients.
2. Explain when to apply 4 different method(s), with which type of individual client or group, under what circumstance, and in what kind of setting.
3. Describe 2 "safe and sensitive" approaches for interviewing the “difficult to reach” client about their art to help them deconstruct and "mine" for personal meaning.
4. Name 3 "next steps" following creative art expression to enhance client insight and resilience.
5. List 4 creative modalities to use with different types of “difficult to reach” clients or groups; state what circumstance to apply them, and in what kind of setting.
6. List at least 4 arts-based strategies/activities that can be used in pairs and/or in groups. 

Bauer, Michael G.; Peck, Chauney; Studebaker, Aubrey; and Yu, Naomi, (2015)."Art Therapy and Evidence Based Practice: An Exploration of Interactions" . LMU/LLS Theses and Dissertations.167
Rollins, J., Dresher, J.& Kelleher, M.L. (2011). Exploring the ability of a drawing by proxy intervention to improve quality of life for hospitalized children. Arts in Health Care, June 2011, pp. 1-15.
Slayton, S.C., D’Archer, J., and Kaplan. F.(2010) Outcome Studies on the Efficacy of Art Therapy: A Review of Findings. Art Therapy: Journal of the American Art Therapy Association, 27(3) pp. 108-11

Intermodal Intuitive Painting: Embracing Uncertainty Through Play, Writing, Movement & Courage
Katerina Evans, MA, LCPC, ATR
Jill Penaloza, LCPAT, CGP
5, 6, 9

Objectives:
1. List 2 warm-up activities for intuitive painting that help establish safety prior to beginning the process.
2. Describe 2 journaling practices that can enhance the depth of the intuitive painting process.
3. Identify 2 ways that intuitive painting can enhance emotion regulation with adolescents and adults.
4. List 3 ways to establish emotional safety when introducing embodied presence practices.
5. List 2 benefits of integrating embodied presence with artmaking in treatment with adolescents and adults.
6. List at least 5 sensory words to describe physical sensations adults and adolescents may feel during intuitive painting to increase interoceptive awareness.

Bowley, F. (2016). Creative Revolution. Quarto Publishing Group USA Inc.
Schmitz, M., Bertsch, K., Löffler, A. et al. Body connection mediates the relationship between traumatic childhood experiences and impaired emotion regulation in borderline personality disorder. bord personal disord emot dysregul 8, 17 (2021). https://doi.org/10.1186/s40479-021-00157-7
Jennifer Frank Tantia (2014) Is intuition embodied? A phenomenological study of clinical intuition in somatic psychotherapy practice, Body, Movement and Dance in Psychotherapy, 9:4, 211-223, DOI: 10.1080/17432979.2014.931888

Internal Family Systems (IFS) & Art Therapy for Working with Loss & Enhancing Resiliency
Peggy Kolodny, MA, ATR-BC, LCPAT
Salicia Mazero, MA, ATR, LPC, CED
Amanda Bechtel, MS, ATR-BC, LCPC, LCPAT
4, 5, 6

Objectives:
1. Define 3 or more basic principles of the Internal Family Systems (IFS) model of treatment that can be applied to clinicians’ current therapeutic approaches.
2. Clarify 3 or more ways that IFS and art therapy theory complement each other to promote transformation for clients in both individual and group settings.
3. Identify the 8 qualities of self leadership in the IFS model of treatment and how these would be recognized within both the clinician and the client to develop a more compassionate therapeutic process.
4. Identify the 8 traits of Self- Energy in IFS and how to recognize at least 4 of them in client's and/or in their art.
5. List and describe the first 4 of the 6 'F's in IFS, demonstrating how this supports both internal dialogue and Jungian active imagination engagement with the client's art product.
6. Identify how the IFS concept of 'polarization' may appear in clay creations.

Krause, P. (2013). Child counseling with internal family systems therapy. Self Leadership.org. Retrieved from http://www.selfleadership.org/child-counseling-therapy.html
Schwartz, R. (2019). Internal family systems. New York, NY: Guilford Press.
Weiss, B. (2013). Self-therapy workbook: An exercise book for the IFS process. Larkspur, CA: Pattern System Books.

Somatic Approaches with Underserved Populations: EMDR & Brainspotting Through a Social Justice Lens
Jacqui Johnson, LPC, CCMHC, PMH-C
1, 5, 7, 8

Objectives:
1. Define social justice and identify 3 presentations of social justice in therapeutic settings.
2. Identify and describe 3 physical sensations connected to optimal mental health.
3. List 2 or more practical techniques drawn from somatic healing approaches that can be incorporated into clinical work.
4. List 3 emotional and mental health issues that can be treated using somatic approaches.
5. Identify 3 long-term benefits of using somatic therapies with clients who have experienced trauma.
6. Name 2 or more key concepts of somatic-based approaches.

Talwar, S.K. (2015). Art Therapy for Social Justice: Radical Intersections. New York, NY: Routledge.
Gipson, L. R. (2015). Is cultural competence enough? Deepening social justice pedagogy in art therapy. Art Therapy, 32(3), 142-145. https://doi.org/10.1080/07421656.2015.1060835
Hamrick, C. & Byma, C. (2017). Know history, know self: Art therapists' responsibility to dismantle white supremacy. Art Therapy, 34(3), 106-111. https://doi.org/10.1080/07421656.2017.1353332

Weaving the Feminine Divine: Creativity for Containment & Community
Charlotte Reed, MSW, ATR-P
Laura Bauder, ATR-BC, CAADC
3, 6, 7

Objectives:
1. Clarify the definition of weaving as it relates to materials and techniques in visual art.
2. List and explain 3 structures of weaving that can be used in clinical practice.
3. Describe 3 types of energies associated with the Feminine Divine.
4. List 2 ways in which weaving can be related to community building concepts.
5. Identify 2 ways in which using textiles can be healing for clients with anxiety, depression, or trauma.
6. Explain how the levels of the Expressive Therapies Continuum (ETC) pertain to the use of weaving in clinical practice.

Barber, E. W. (1995). Women's work: The first 20,000 years : women, cloth, and society in early times. New York: Norton.
Collier, A. F. (2012). Using textile arts and handcrafts in therapy with women: Weaving lives back together. London: Jessica Kingsley Publishers.
St. Clair, K. (2019). The golden thread: How fabric changed history, London : John Murray

What is Theraplay®? An Overview Masterclass for Experiential Therapists
Mandy Jones, LCSW, RPT, JD
3, 4, 10

Objectives:
1. Describe 2 activities from each of Theraplay's four dimensions.
2. Describe 1 way Theraplay play therapy interactions can be conducted with preschool, school-aged children, adolescents, and groups.
3. List 2 ways that parents are incorporated into Theraplay treatment sessions.
4. Describe 2 ways that Attachment Theory is seen in the application of Theraplay treatment to build relationships.
5. State 2 ways parents can participate in Theraplay sessions.
6. Explain 2 ways Theraplay interactions can be conducted with preschool, school-aged children, adolescents, and groups.

Tucker, C., & Smith, S. (2018). Using play to enhance growth in children who have experienced trauma: Theraplay groups as early intervention. Young Exceptional Children, Monograph 17., pp. 72-81.
Cort, L., & Rowley, E. (2015, September). A case study evaluation of a Theraplay intervention to support mothers and preschool children following domestic abuse. Debate.156, 33-41.
Smithe, L.C., Krizova, K., Guest, J.D., & Pease, J.C. (2021). Theraplay as a family treatment for mother anxiety and child anxiety.  International Journal of Play Therapy., Vol. 30, No. 3, 206-218.

FRIDAY EVENING SESSIONS

Don't Fight Dis-Ease, Nuture Vitality!
Matthew Tousignant, MA, CMT
Angela Porter, MA, MFT
2, 9

Objectives:
FORTHCOMING

Reflections on Mirror Exposure Therapy & Art for Treating Clients with Eating Disorders
Rebecca Lyn Gillam, ATR-BC, LPC, CEDS
1, 4, 8

Objectives:
1. Name 4 feeding and eating disorders listed in DSM V.
2. Identify 3 grounding techniques that are helpful to teach prior to and use while engaging in mirror exposure therapy.
3. Identify at least 3 considerations a therapist should make prior to engaging in mirror exposure therapy

Demartini, B., Nisticò, V., Tedesco, R., Marzorati, A., Ferrucci, R., Priori, A., Gambini, O., & Caputo, G. B. (2021). Visual perception and dissociation during Mirror Gazing Test in patients with anorexia nervosa: a preliminary study. Eating and Weight Disorders - Studies on Anorexia, Bulimia and Obesity, 26, 1541-1551. doi:10.1007/s40519-020-00977-6
Griffen, T. C., Naumann, E., Hildebrandt, T. (2018). Mirror exposure therapy for body image disturbances and eating disorders: A review. Clinical Psychology Review, 65, 163-174. doi:10.1016/j.cpr.2018.08.006.
Schaumberg, K., Reilly, E. E., Gorrell, S., Levinson, C. A., Farrell, N. R., Brown, T. A., Smith, K. M., Schaefer, L. M., Essayli, J. H., Haynos, A. F., & Anderson, L. M. (2021).Conceptualizing eating disorder psychopathology using an anxiety disorders framework: Evidence and implications for exposure-based clinical research. Clinical Psychology Review, 83. doi:10.1016/j.cpr.2020.101952

Simple Book Forms for Clinical & Community Practice
Erin Partridge, PhD, ATR-BC
3, 5, 6

Objectives:
1. Identify 2 simple bookbinding form techniques that can be taught to clients.
2. State 5 benefits of working with handmade book forms in clinical and community work.
3. Describe how to create a clinical action plan incorporating 1 or more bookbinding forms into practice.

Partridge, E. E. (2020). The Pre-Research Sketchbook: A Tool to Guide Future Inquiry. Art Therapy. https://doi.org/10.1080/07421656.2020.1729677
Someguy. (2007). 1000 journals project. Chronicle Books.
Houpt, K., Balkin, L. “Ariella,” Broom, R. H., Roth, A. G., & Selma, . (2016). Anti-Memoir: Creating Alternate Nursing Home Narratives Through Zine Making. Art Therapy, 33(3), 128–137. https://doi.org/10.1080/07421656.2016.1199243

The Great Turning: An Ecological/Spiritual Approach for Bridging Personal & Planetary Consciousness
Daniel Summer, PhD, ATR-BC, LCAT
5, 6

Objectives:
1. Identify 2 aspects of the relationship between ecological models and psychotherapy theories.
2. Describe 1 or more benefits of engaging with unconventional art materials.
3. Define 3 aspects of "The Great Turning" as they relate to counseling and psychotherapy.

Gifford, E., & Gifford, R. (2016). The largely unacknowledged impact of climate change on mental health. Bulletin of the Atomic Scientists, 72(5), 292-297. doi:10.1080/00963402.2016.1216505
Karcher, O. P. (2017). Sociopolitical oppression, trauma, and healing: Moving toward a social justice art therapy framework. Art Therapy, 34(3), 123-128.
Ojala, M. (2012). Hope and climate change: The importance of hope for environmental engagement among young people. Environmental Education Research, 18(5), 625-642.

Spirituality, Empathy & Intuition: Creative, Careful Management of Personal Transformation
Ellen G. Horovitz, ATR-BC, LCAT, E-RYT500, C-IAYT
Jennifer Catlin, MS, CHt, CYT
Cherie Spehar, LCSW, RPT-S, ACTP, Discussant
1, 5, 7, 9

Objectives:
1. Identify when to use the Belief Art Therapy Assessment with Patients.
2. List the parameters for working with patients in a spiritually-oriented therapeutic session.
3. Clarify when to invoke spirituality, mindfulness and body-oriented therapeutics in session (including touch).

Spring, D. (2004) Thirty-year study links neuroscience, specific trauma, PTSD, image conversion, and language translation. Art therapy, Journal of the American Art Therapy Association 21(4) pp.200-209.
Horovitz, E.G. (2021). Head and HeART: Yoga Therapy & Art Therapy Interventions for Mental Health Practitioners. Pencaitland, Scotland: Handspring Publishers
Horovitz, E.G. (2017). Spiritual art therapy: an alternate path. (Third Edition), Springfield. IL: Charles C Thomas.

SATURDAY, NOVEMBER 13, 2021

SATURDAY MORNING WORKSHOPS

Embodied Approaches to Treatment: Psychodrama & Dance Movement Therapy
Judy Swallow, MA, LCAT, TEP
Letitia Coburn, LCSW
1, 3, 4

Objectives:
1. Define psychodramatic doubling as it would be used in individual and group work by creative arts therapists.
2. Explain psychodramatic role reversal as it would be used in individual work by creative arts therapists.
3. Describe 1 dance movement therapy structure to deepen warm-ups and 1 dance movement structure that can facilitate closure in creative therapy groups.

Blatner, Adam. (1988). Acting In
Dayton, Tian. (1994). The Drama Within: Psychodrama and Experiential Therapy
Rinat Feniger-Schaal, Yuval Hart, Nava Lotan, Nina Koren-Karie and Lior Noy - The Body Speaks: Using the Mirror Game to Link Attachment and Non-verbal Behavior

Ethics of Advocacy & Social Justice for Clinicians
Rachel Brandoff, PhD, ATR-BC, ATCS, LCAT
Jacqui Johnson, LPC, MS, NCC, CCMHC, PMH-C
1, 7, 12

Objectives:
1. Identify 3 advocacy competencies, specified by the ACA and included in ethics under the roles and responsibilities of clinicians.
2. List 3 processes involved in therapists becoming ethical advocates for clients and professionally relevant causes.
3. Explain 2 or more criteria for therapists to consider when merging their social justice stance with their clinical practice.

Goodman, L. A., Wilson, J. M., Helms, J. E., Greenstein, N., & Medzhitova, J. (2018). Becoming an advocate: Processes and outcomes of a Relationship-Centered Advocacy training model. The Counseling Psychologist, 46(2). 122–153. https://doi.org/10.1177/0011000018757168 journals.sagepub.com/home/tcp
Gipson, L. R. (2015). Is cultural competence enough? Deepening social justice pedagogy in art therapy. Art Therapy, 32(3), 142-145. https://doi.org/10.1080/07421656.2015.1060835
Ratts, M. J. (2009). Social justice counseling: Toward the development of a “fifth force” among counseling paradigms. Journal of Humanistic Counseling, Education and Development, 48(2), 160-172. https://doi.org/10.1002/j.2161-1939.2009.tb00076.x


Facilitating Shadow Work Through Expressive Arts Therapy: Superheroes in the Dark
Ramona Skriiko, MSEd, LPCC, SEP, REAT
1, 5, 6

Objectives:
1. Describe the components and therapeutic value of empowering origin stories.
2, Explain the use of integrating expressive arts practices into traditional counseling and psychotherapy treatment.
3. List 2 or more benefits of using superhero themes to enhance clinical outcomes.

Rosenberg, R. S. (Ed.). (2013). Our Superheroes, Ourselves. New York: Oxford University Press.
Ricks, L., Kitchens, S., Goodrich, T., & Hancock, E. (2014). My Story: The Use of Narrative Therapy in Individual and Group Counseling. Journal of Creativity in Mental Health, 9(1), 99–110.
Scarlet, J. (2017). Superhero Therapy. Oakland, CA: Instant Help Books.


Giving Parts Voice Through Poetry: Inspiring the Inner Community to Speak
Marshall Lyles LMFT-S, LPC-S, RPT-S
1, 4

Objectives:
1. Identify 3 healing outcomes of expressive writing.
2. Describe 3 methods for inviting clients into parts-honoring poetry writing.
3. Name 4 poetry prompts based on memory network components.

Heimes, S. (2011). State of poetry therapy research. The Arts in Psychotherapy, 38(1), 1-8
Mazza, N. (2016). Poetry therapy: Theory and practice. Routledge
Pennebaker, J. W., & Evans, J. F. (2014). Expressive Writing: Words that Heal: Using Expressive Writing to Overcome Traumas and Emotional Upheavals, Resolve Issues, Improve Health, and Build Resilience. Idyll Arbor.

Helping Young Children Make Sense of Things Through Art Making & Sensory-Motor Actitivies
Kathryn Snyder, ATR-BC, LPC
1, 5, 6, 8, 9

Objectives:
1. List 2 or more sensory-motor art therapy activities to use with children in counseling and therapy.
2. Describe and explain what a scaffolded, narrative-building story-telling book is.
3. List 1 or more scaffolded art approaches for use with young children in therapy.

Hinz, L. (2009). Expressive Arts Therapies Continuum: A Framework for Using Art in Therapy. New York: Routledge.
Horowitz, E.G. (1983). Preschool aged children: When art therapy becomes the modality of choice. The Arts in Psychotherapy, 10, 23-32.
Meyerowitz-Katz, J. (2003). Art materials and processes – a place of meeting art psychotherapy with a four-year-old boy. Inscape, 8(2), 60-69, https://doi.org.10.1080/17454830308414055

Into the Dark Night of the Soul: A Restorative Framework for Working Through Trauma & Transition
Linda Abrams, LCSW-R
5, 10

Objectives:
1. Describe 2 contrasting cultural perspectives on how the experience of a Dark Night of the Soul is supported or thwarted by cultural norms.
2. Describe 3 differences between stories that sicken and stories that heal.
3. Name 4 tasks of the Dark Night of the Soul Journey.

Robertson, F. (2018). The dark night of the soul: a journey from absence to presence. Nottingham: Gawthorne Press.
Davenport, L., & Rossman, M. L. (2016). Transformative imagery: cultivating the imagination for healing, change and growth. London: Jessica Kingsley Publishers.
Freie, B. C. L. (2014). Healing psyche through expressive arts: expressing and dialoguing with living images. Carpinteria, CA: Pacifica Graduate Institute.

Quick Collages for Clients of All Ages: Piecing Together Possibilities
Josie Abbenante, ATR-BC, LPAT
4, 5, 6

Objectives:
1. Identify 2 ways to use Quick Collage techniques in therapy with clients of all ages in psychotherapy and counseling.
2. Practice 2 methods of writing in response to a Quick Collage to enhance treatment objectives with clients in therapy.
3. Describe 3 ways to use Quick Collage techniques to further specific goals in clinical work with clients of all ages.

Harrison, H, and Grasdal, P. (2003). Collage for the soul: Expressing hopes and dreams through art. Gloucester, MA: Rockport Publishers, p. 7.
Hillman, J. (1977). "Inquiry into image." Spring: An Annual of Archetypal Psychology and Jungian Thought, pp. 62-88. Zurich: Spring.
Whiting, L. (2008). Living into art: Journeys through collage. Paper Lantern: Boyes Hot Springs, CA.

The Dance of Engagement: Embodiment Tools for Enhanced Presence, Trust & Insight
Jody Wager, MS, BC-DMT
3, 5, 9

Objectives:
1. List 2 ways that being an "embodied therapist" can expand your ability to attune more effectively when working with clients.
2. Identify 1 instance of using kinesthetic empathy or somatic countertransference as a means of better understanding and gathering information about your clients.
3. Describe 3 movement techniques that can be used to be more fully present and self-aware when working with clients in treatment, virtually or in person.

Kleinman, S. & Hall, T. (2006). Dance/Movement therapy: A method for embodying emotions. The Renfrew Center Foundation Healing Through Relationship Series: Contributions to Eating Disorder Theory and Treatment Volume 1: Fostering Body-Mind Integration. Philadelphia, PA (pp 2-19).
Kleinman, S. (2004). Use of self as a dance/movement therapist: Our greatest therapeutic tool. Proceedings of the American Dance Therapy Association 39th Annual Conference. Columbia, Maryland: American Dance Therapy Association.
Pallaro, P. (2007). Somatic countertransference: The therapist in relationship. Authentic Movement: Moving the body, moving the self, being moved (pp. 176-193). London: Jessica Kingsley.

Trauma-Informed Digital Art Therapy with Adolescents
Kendra Carlson, MAAT, ATR-BC, CLAT 
1, 4, 6, 8

Objectives:
1. Identify 2 benefits and 2 challenges of using digital self-expression with hospitalized preteens to young adults who have been impacted by adverse childhood experiences.
2. Describe 3 digital art therapy interventions including use of virtual reality that are effective in working with traumatized youth.
3. State the 6 principles and 3 best practices of digital art therapy in the trauma-informed care framework for working with youth addressing illness, grief, loss and isolation.

Malchiodi, Cathy A. (2020): Trauma and expressive arts therapy: brain, body, and imagination in the healing process. New York, NY:Guildford Publications.
Stone, Jessica. (2019): Integrating technology into modern therapies: a clinician’s guide to developments and interventions. New York and London:Routledge Taylor & Francis Group.
Van der Kolk, Bessel A. (2014): The body keeps the score: brain, mind, and body in the healing of trauma. New York, NY:Viking Penguin Group.

Using the Soror Mystica Deck© in Art Therapy: Engaging the Mystical Sister Within
Abbe Miller, PhD, ATR-BC, LPC
Em Reim Ifrach, CEDCAT-S, REAT, ATR-BC, ATCS, LPC, NCC, RMT, LCAT
1, 4, 6

Objectives:
1. Identify 3 techniques that use stimulus imagery in art therapy practice.
2. Name the 3 core conceptual underpinnings for the development and use of the Soror Mystica: Mystical Sister Within cards.
3. Describe the concept of using stimuli imagery for personal art making with cards in three orientations (intra-, inter-, trans-personal) for healing and transformation.

Reese, J. (2010). Examining intuitive-creativity via reading tarot cards in a person-centered climate (Unpublished doctoral dissertation).
Saybrook University, San Francisco: CA
Sirabella, S. and Taylor, K. (2017). The theoretical basis and therapeutic elements of the SoulCollage® method. SoulCollage Inc.

Integration of Radically Open Dialectical Behavior Therapy (DBT) & Art Therapy
Maggie Ritnour, ATR-BC, LMHC, LCAT
1, 4, 10

Objectives:
1. Explain the basic concepts of RO DBT biosocial theory and biotemperaments.
2. List the 4 core deficits of overcontrol as a biotemperament and how art therapy enhances their treatment.
3. Define the foundational RO DBT skill of self-enquiry and how it can help you to learn from an ever-changing world.

Codd, T. R. (Ed.). (2018). Radically open dialectical behavior therapy [special issue]. The Behavior Therapist 41(3), New Harbinger Publications. https://abriradicallyopendbt.com/wp-content/uploads/2019/09/the-behavior-therapists-RO-DBT-special-issue.pdf
Lynch, T. R., Hempel, R. J., Whalley, B., Byford, S., Chamba, R., Clarke, P., Clarke, S., Kingdon, D. G, O’Mahen, H., Remington, B., Rushbrook, S. C., Shearer, J., Stanton, M., Swales, M., Watkins, A., & Russell, I.T. (2020). Refractory depression – mechanisms and efficacy of radically open dialectical behaviour therapy (RefraMED): findings of a randomised trial on benefits and harms. The British Journal of Psychiatry. (216). 204-212. doi: 10.1192/bjp.2019.53
Little, J. N., & Codd, T. R. (2020). Radically open dialectical behavior therapy (RO DBT) in the treatment of perfectionism: A case study. The Journal of Clinical Psychology. doi: 10.1002/jclp.23062


SATURDAY AFTERNOON WORKSHOPS

Courageous Visioning: Guided Journeying & Artmaking for Creative Transformation
Linda Abrams, LCSW-R
5, 6, 9

Objectives:
1. Describe 3 ways in which visionary art has been practiced for healing mind-body-spirit across time and cultures.
2. Explain 1 or more ways to work with altered states (dreaming, journeying, guided meditation) in treatment to enhance insight and healing.
3. List the theoretical components and skills necessary to create visionary art healing interventions in clinical work with individuals, groups, and communities.

Malchiodi, C.A. (2020). Trauma and Expressive Arts Therapy: "Meaning-making: Imagining New Narratives for Brain and Body, 324-364
Mikosz, Antar (2021). Psychedelia and Visionary Art, "The work of art as the result of interaction between culture & non-ordinary states of consciousness"
Grey, Alex (1999). The Mission of Art, "Illuminating Visions", 139-175

Four Paths to Wholeness Through Expressive Writing, Poetry & Compassion
Marianela Medrano, PhD, LPC, CPT
1, 4, 5

1. Participants will distinguish between psychological flexibility and inflexibility so they can apply that knowledge in facilitating work with individuals suffering from a variety of conditions, including but not limited to anxiety, depression, and PTSD. 
2. Name at least 2 ways to facilitate the practice of compassion toward self and others. 
3. Describe 4 or more arts-based approaches that have proven effective for teaching coping strategies to survivors of human trafficking. 

Chavis, G. (2011) Poetry and Story Therapy: The Healing Power of Creative Expression (Writing for Therapy or Personal Development. Philadelphia, PA: Jessica Kingsley Publisher. 
Gilbert, P. (2010) Compassion Focused Therapy, New York: Routledge. 
Mazza, N. (2003) Poetry Therapy: Theory and Practice. New York: Brunner-Routledge.


Memory Boxes: Containers of Love & Loss
Sarah Vollmann ATR-BC, LICSW
1, 4, 6

1. Identify 3 art therapy principles, used in the art therapy practice of memory box creation, that provide unique therapeutic benefits for grieving patients.
2. List 1 or more ways that memory boxes can be used to nurture and explore the formation and preservation of continuing bonds for grieving children, adolescents, and adults.
3. Name 3 elements in the practice of art therapy memory boxes that facilitate grief treatment with Neimeyer’s framework of bracing, pacing, and facing.

Neimeyer, R. (2012). Techniques of grief therapy: Creative practices for counseling the bereaved. New York: Routledge.
Kaufman, A.B. (1996). Art in boxes: An exploration of meanings. The Arts in Psychotherapy, 23 (3), 237-247.
Klass, D., Silverman, P.R. & Nickman, S.L. (1996).  Continuing bonds: New understandings of grief. Philadelphia, PA: Taylor & Francis.
 


Interpersonal Violence in Families: Creating a Safe, Culturally Appropriate Space for Healing
Michelle Dodge, JD, MSW, RPT-S
Dee Preston-Dillon, PhD
1, 5, 6, 7

Objectives:
1. Identify 3 guiding principles that play therapists can use to limit risks and maintain physical and emotional safety when working with families that have experienced trauma and may face continued abuse.
2. State 3 challenges and dangers that confront play therapists and other professionals working with families in the cycle of violence, especially regarding boundaries, legal issues, disruptions to safety, and working with social systems that may help or sabotage the process.
3. Explain 3 culturally appropriate interventions that empower families and facilitate a healing process through play therapy and expressive interventions.

Ogbe, E., Harmon, S., Van den Bergh, R., Degomme, O. (2020). A systematic review of intimate partner violence interventions focused on improving social support and/ mental health outcomes of survivors. Plus One 15 (6): e0235177.
Hall, J. G. (2019). Child-centered play therapy as a means of healing children exposed to domestic violence. International Journal of Play Therapy, 28(2), 98–106.
Harriet, L., MacMillan, C., Wathen, N., Varcoe, C. M. (2013). Intimate partner violence in the family: Considerations for children's safety, Child Abuse & Neglect, 37, (12), 1186-1191.


Phototherapy & Therapeutic Photography: Creative Techniques for All Clinicians
Sarah Kremer, PhD, ATR-BC, LPCC
1, 4, 6

Objectives:
1. Describe 1 or more differences between phototherapy and therapeutic photography.
2. List 2 or more ways to integrate photo-based techniques with a variety of populations and therapeutic settings.
3. Identify at least 3 photo-based visual research methodologies that can be used to enhance understanding of client work in treatment.

Gibson, N. (2018). Therapeutic Photography: Enhancing Self-esteem, Self-efficacy and Resilience. Jessica Kingsley Publishers.
Carr, S. M. (2014). Revisioning self-identity: The role of portraits, neuroscience and the art therapist's ‘third hand’. International Journal of Art Therapy, 19(2), 54-70.
Ciolan, L., & Manasia, L. (2017). Reframing Photovoice to boost Its potential for learning research. International Journal of Qualitative Methods, 16(1), 1–15.

Psychodramatic Art Therapy: Expressive Imagery in Action
Ning-Shing Kung, ATR-BC, TEP
3, 5, 6

Objectives:
1. List 2 common aspects of spontaneous drawing and spontaneous action that can be integrated into expressive art therapy sessions.
2. Describe the concepts of "healing center" and "sitting in two universes," which are from psychodrama founder Moreno’s theory.
3. Identify the changing agent in each type of role playing: a role and counter role, mirroring role, and cosmic role.

S Giacomucci , DKarner , L Nieto & E (2021), Sociatry, psychodrama, and social work: Moreno’s mysticism and social justice tradition, Social Work with Groups, published online, https://doi.org/10.1080/01609513.2021.1885826, P. 8-9
 E. G. Levine and S. K. Levine, Eds. (2011), Art in Action, Expressive Arts Therapy and Social Change, Jessica Kingsley, London and Philadelphia, Chapter 3, p. 43
Z. T. Moreno (2012), To Dream Again, Mental Health Resources, NY, p.504

Sharing Our Identities in Clinical Practice & Supervision: What Therapists Need to Know
Daniel Blausey MA, ATR-BC, LCAT
Yasmine Awais MPHIL, ATR-BC, ATCS, LCAT, LPC
1, 4, 7, 12

Objectives:
1. Name 3 benefits of discussing matters of identity in supervision.
2. Identify 3 strategies to build the supervisory relationship, including difficult conversations regarding difference (i.e., religion, race, gender, and other salient identities) in virtual supervision.
3. Explain what it means to be in your own social location in relation to your role as a supervisor and/or as our role as a supervisee.

Awais, Y. J. & Blausey, D. (2021). Foundations of art therapy supervision: Creating common ground for supervisees and supervisors. Routledge.
Hardy, K. V., & Bobes, T. (Eds.). (2016). Culturally sensitive supervision and training: Diverse perspectives and practical applications. Routledge.
Miller, J., & Garran, A. M. (2017). Racism in the United States: Implications for the helping Professions (2nd ed). Springer Publishing Company.

Superheroes to the Rescue: Fighting Trauma & Anxiety Through Play Therapy for All Ages
April Duncan, MSW, LCSW, RPT-S
4, 5, 6

Objectives:
1. Describe 4 theoretical constructs that play therapists can use to encourage imaginative play.
2. Describe 3 or more ways that play therapists can integrate superheroes into clinical sessions to address trauma and anxiety in clients of all ages.
3. List 5 therapeutic benefits of integrating superheroes into play therapy and other therapeutic disciplines.

Brownie, B. and Graydon, D. (2015) The Superhero costume: Identity and disguise in fact and fiction. United Kingdom: Bloomsbury Academic.
Rubin, L. (2019). Using Superheroes and Villians in Counseling and Play Therapy. New York: Routledge
Rogers, K. (2017). Heroes, Villians and Healing. A Guide for Male Survivors of Childhood Sexual Abuse Using D.C. Comic Superheroes and Villians. USA: Strategic Book Publishing and Rights Co

Tactile Storytelling Using Bead/Found Object Collage: Crafting Handmade Narratives
Lisa Kay, EdD, ATR-BC
5, 6

Objectives:
1. Describe the use of 3 applications of bead collage in art making, research, and therapy.
2. Explain 2 or more differences between making a bead collage personal narrative using beads and found objects than making "crafts."
3. Identify 2 ways that this method can be incorporated into counseling and therapy.

Kay, L. (2013). Bead collage: An arts-based research method. International Journal of Education & the Arts, 14(3) 1-8. http://www.ijea.org/v14n3/
Kay, L. (2015) Research as Bricolage: Navigating in/between the creative arts disciplines. Special Edition on Arts-based Research, Music Therapy Perspectives. A. Meadows and M. Viega (Eds.)
Leavy, P. (2018). Handbook of Arts-based Research. New York: Guilford Press

SATURDAY SPECIAL SAND PANEL via ZOOM

A Primer of Sandplay, Sandtray & Sand in Therapy: Comparing Clinical Approaches & Competencies
Lorraine Freedle, PhD, LCSW, ABPdN, CST-T
Dee Preston-Dillon, PhD
Linda E. Homeyer, PhD, LPC-S, RPT-S
Daniel Sweeney, PhD, LMFT, LPC, RPT-S, Discussant

Please note: This is the only virtual session during Summit Weekend 2

1, 4, 6

Objectives:
1. Identify 2 differences in understanding and responding to client sand scenes, when approaching them from different theories of practice, including play therapy and others.
2. State 3 ethical principles for the use of sand in play therapy, counseling, and psychotherapy.
3. Describe 3 key components for establishing competence in the clinical use of sand in play therapy, counseling, and psychotherapy.

Kalff, D. M. (2020). Sandplay: A psychotherapeutic approach to the psyche. Analytical Psychology Press. (Original work published in 1966)
Roesler, C. (2019). Sandplay therapy: An overview of theory, applications and evidence base. Arts and Psychotherapy, 64 (3), 84-94. https://doi.org/10.1016/j.aip.2019.04.001
Wiersma, J. K., Freedle, L. R., McRoberts, R., and Solberg, K. (2021). A meta-analysis of sandplay therapy outcomes research. [Manuscript submitted for publication].

SUNDAY, NOVEMBER 14, 2021

SUNDAY MASTER CLASSES

Accessing the Sacred: Making Ex-Votos & Devotional Art in Therapy
Michelle L. Dean, MA, ATR-BC, CGP, LPC
1, 5, 6

Objectives:
1. List at least 3 therapeutic applications for utilizing ex-votos and devotional art forms in therapy.
2. Identify the 3 structuring devices of the ex-voto and their relationship to the corporeal world and the divine.
3. Name at least 2 ways how devotional art may be utilized with individuals who have experienced trauma.
4. Identify at least one example of a psychotherapy experience in which ritual may be employed as witnessing.
5. Name at least three different kinds of traditional and found art materials that may be utilized in the construction of devotional art.
6. Name at least three ways symbolism may be utilized to express the multiple dimensions of the individual and the collective experience.

Dean, M. L. (2016). Using Art Media in Psychotherapy: Bringing the Power of Creativity to Practice. New York: Routledge.
Marques da Silva, N., Congdon, K. G., Salvatori, M. R., Alves de Oliveira, J. C. (2010). Requesting miracles: Votive offerings from diverse cultures. Winter Park, FL: Alice & William Jenkins Gallery at Crealdé School of Art.
Salvatori, M. R. (2015). Ex-votos: Stories of miracles. Retrieved June 11, 2015. http://www.mariolinasalvatori.com/?p=12.

Making Custom Miniatures for Sand Therapy: Creating Brave New Worlds
Wanda Montemayor, LPC-S-AT, ATR-BC, ATCS, RPT-S
1, 5, 6

Objectives:
1. Describe how to use the miniatures making process as a humanistic approach to therapy with children, grounded in child-centered theory.
2. List 2 areas of self-esteem being improved through making miniatures in group therapy with adolescents.
3. Describe 2 ways to process miniature making in treatment.
4. Identify 2 uses of miniature making in a group setting with teens.
5. Name 3 different miniature making materials that are ethical, economical, and safe for clients of all types.
6. List 4 clinical interventions for issues typically worked with in treatment using miniature making.

Field, M. (2016). Empowering students in the trauma-informed classroom through expressive arts therapy. In Education, 22(2), 55-71.
Perryman, K. L., Moss, R., & Cochran, K. (2015). Child-centered expressive arts and play therapy: School groups for at-risk adolescent girls. International Journal of Play Therapy, 24(4), 205–220.
Swank, J. M., & Lenes, E. A. (2013). An exploratory inquiry of sandtray group experiences with adolescent females in an alternative school. Journal for Specialists in Group Work, 38(4), 330–348. DOI: 10.1080/01933922.2013.835013

Multimodal Altered Books for Sexual Trauma: Creating a Healing Journey Via Imagery, Story & Movement
Katerina Evans, ATR, LCPC
5, 6, 8, 9

1. Identify 2 risks when introducing altered books to clients in trauma treatment.
2. List 3 ways to explore and create safety when using the altered books process.
3. Name 2 ways that the altered book can be used as a vehicle to re-author your story during the healing process.
4. List 2 ways that clinicians can teach clients to use the altered book as a process of self-care.
5. Identify 2 art techniques that clients of all ages can explore through an altered book.
6. Describe the "window of tolerance," and how to apply it to the process of creation in altered book making.

Chilton, G (2013). Altered inquiry: Discovering Arts-Based Research through an Altered Book. International Journal of Qualitative Methods 12: 457–477.
Scotti V. & Prentice A., (2016) “Altered Coffee Table Books as an Inquiry into Transitioning to Motherhood: A Visual Comment”, Studies in the Maternal 8(1). p.7. doi: https://doi.org/10.16995/sim.211
G P Klorer, (2014). My Story, Your Story, Our Stories: A Community Art-Based Research Project. Art Therapy: Journal of the American Art Therapy Association 31 (4) : 146. DOI: http://dx.doi.org/10.1080/07421656.2015.963486

SUNDAY MORNING WORKSHOPS

A Shore Thing: Journals, Nature & Creativity in Play Therapy for Grounding, Connection, Resilience
Cherie Spehar LCSW, RPT-S, ACTP
Tammi Van Hollander LCSW, RPT-S, CTC-S
1, 5, 6

Objectives:
1. Identify and describe a minimum of 2 archetypal metaphors that can be accessed using play therapy interventions.
2. List and describe at least 4 expressive interventions appropriate for a variety of clinical settings and populations.
3. Describe a minimum of 3 clinical benefits of combining journal therapy, play therapy, and mindfulness interventions in treatment with adult clients.
4. Name 2 or more ways that nature-based play therapy interventions can be incorporated into counseling or psychotherapy practice with teens and adults.

Courtney, Janet A (2020). Healing Child and Family Trauma through Expressive and Play Therapies: Art, Nature, Storytelling, Body & Mindfulness W. W. Norton & Company
Louv, R. (2013). Last child in the woods: Saving our children from nature-deficit disorder. Atlantic Books.
Van Hollander, T (2018). Casey’s Greatness Wings: Teaching Mindfulness Connection and Courage to Children. Ardmore, PA: Main Line Therapy, LLC.

Arts-Based Treatment for Women with Trauma Histories & Substance Abuse Disorder
Deirdre M. Cogan, ATR-BC, LPC, ATCS, CTP
Laryssa Cresswell, EdD, MT-BC, LCPC
Ryan M. Carroll, DMT
1, 4, 8

Objectives:
1. List 1 or more ways to apply relaxation and stress reduction techniques to help individuals with co-occurring disorders decrease muscular tension and increase self-regulation.
2. Practice 1 method of using movement to help individuals with co-occurring disorders to process past traumatic experiences and to tell their stories in a safe and non-threatening way.
3. Describe 1 or more approaches to combining cognitive restructuring techniques with art expression to help women with severe mental illness challenge their distorted beliefs and self-defeating behaviors.
4. List 2 or more creative arts interventions that help to ameliorate the neurobiological side effects of trauma.
5. List 3 or more ways music and art can be used as grounding containers that provide reality orientation and stress reduction in group sessions for severely mentally ill women.
6. Identify 2 or more ways the interplay between art expression, music, and cognitive reprocessing can create a therapeutic space for self-awareness and expression in gender-specific group sessions.

Dass-Brailsford, P., & Safilian, C. M. (2017). Integrate Approaches to Treating Psychological and Substance Abuse in Women: An Update. Trauma Acute Care. 2, 41.
Crenshaw, D. (2006). Neuroscience and Trauma Treatment: Implications for Creative Arts Therapists. In L. Carey (Ed.), Expressive and creative arts method for trauma survivors. (pp. 21-29).
Rogers, N. (1993) The Creative Connection: Expressive Therapy as Healing. Palo Alto, CA: Science & Behavior Books.

DBT with Art Therapy: An Introduction
Denise Wolf, MA, ATR-BC, ATCS, LPC
1, 4, 5, 6

Objectives:
1. Identify the theoretical underpinnings of DBT treatment.
2. State the 3 biological components and 3 social components of the biosocial theory of emotion dysregulation.
3. List at least one expressive arts engagement that aligns to each of the 4 modules of DBT treatment.

Drass, J. M. (2015). Art therapy for individuals with borderline personality: Using a dialectical behavior therapy framework. Art Therapy, 32(4), 168-176.
Heckwolf, J. I., Bergland, M. C., & Mouratidis, M. (2014). Coordinating principles of art therapy and DBT. The Arts in Psychotherapy, 41(4), 329-335.
Linehan, M. M. (1993). Cognitive-behavioral treatment of borderline personality disorder. New York, NY: Guilford Press.

Grief Work Using Karuna Cards, Soul Cards & More
Claudia Coenen, MTP, CGT, FT
5, 6, 9

Objectives:
1. Practice 3 different methods for helping adolescent and adult clients creatively work through grief, using imagery, color, shape and words.
2. Apply 2 ways to use imagery, activities, and prompts to process grief, providing a bereaved client with specific tools to assist their process.
3. Describe 2 ways the grief experience itself is enhanced and deepened by utilizing creativity, prompt cards and creative activity sheets.

Coenen, C. (2018). Karuna Cards: Creative Ideas to Transform Grief and Difficult Life Transitions. Jessica Kingsley.
Koff-Chapin, D. (2000). Soul Cards I and II, Center for Touch Drawing
Coenen, C. (2020). The Creative Toolkit for Working with Grief and Bereavement: A Practitioner’s Guide. Jessica Kingsley

Relationships and Emotional Well-Being: A Mapping Tool for Individual & Group Therapy
Jennifer Salimbene, MSSW, LCSW-R, CASAC, CDAC, TEP
1, 3, 5

Objectives:
1. Describe the basics of creating pencil and paper social atoms in treatment.
2. Identify 2 therapeutic benefits of putting the social atom into action in counseling or psychotherapy.
3. Describe 2 particular psychodramatic techniques to help clients explore their social atoms in action.

Blatner, A. (2000). Foundations of Psychodrama Springer Publishing: New York, NY.
Buchanan, D. R. (1984). Moreno's social atom: A diagnostic and treatment tool for exploring interpersonal relationships. The Arts in psychotherapy. 11 (3), 155-164.
Dayton, T. (2005). The Living Stage: A Step-by-Step Guide to Psychodrama, Sociometry and Experiential Group Therapy. Dearfield Beach, FL: Health Communications Inc.

Sex Positivity: Integrating a Sex Positive Approach in Therapy & Supervision
Daniel Blausey, MA, ATR-BC, LCAT
1, 2, 5, 8, 9

Objectives:
1. Define 3 elements of a sex positive practice and describe how this is applied to a therapeutic setting.
2. State 3 reasons why clinicians may struggle to engage in an appropriate, sex positive dialogue with clients.
3. Identify at least 2 personal and professional sexual values to increase understanding of implicit bias and to better develop skills for working with clients within the complex area of human sexuality in all its diversity.

Cruz, C., Greenwald, E., & Sandil, R. (2017). Let’s talk about sex: Integrating sex positivity in counseling psychology practice. The Counseling Psychologist, 45(4), 547-569.
Harris, S. M., & Hays, K. W. (2008). Family therapist comfort with and willingness to discuss client sexuality. Journal of Marital and Family Therapy, 34(2), 239-250. https://doi.org/10.1111/j.1752-0606.2008.00066.x
Nealy, E. C. (2017). Trans Kids and Teens: Pride, Joy, and Families in Transition. WW Norton & Company.

Teaching Embodied Compassion: Helping Clients to Step Into Another's Shoes
Sonora Rose Thomas, LMHC
Kevin Thomas
1, 3, 5

Objectives:
1. Describe 3 or more uses for role reversal in therapeutic contexts.
2. List 3 or more steps involved in the technique of "doubling."
3. Explain how to to "debrief" a role reversal experience with a client in treatment.

Chesner, A. (2019). One-to-One Psychodrama Psychotherapy.
Dayton, T. (2015). Neuropsychodrama in the treatment of relational trauma.
Nolte, J. (2020). J. L. Moreno and the psychodramatic method: On the practice of psychodrama.

SUNDAY AFTERNOON WORKSHOPS

Integrating EMDR with Art Therapy: An Introduction
Maureen Vita MA, ATR-BC, LPC
Donna Radl, PhD, ATR-BC, LPC
1, 4, 6, 10

Objectives:
1. State 1 or more benefits of integrating EMDR into an expressive arts therapy practice.
2. Describe Shapiro’s original EMDR 8-step protocol, as well as 2 ways to use imagery in Phase 2 during client preparation.
3. Explain 2 creative interventions using Shapiro’s original 8-step EMDR protocol to offer relief for trauma clients struggling with emotional distress from grief/bereavement, PTSD, and other anxiety disorders.

Nili Sigal & Rob. (2021). Dual perspectives on art therapy and EMDR for the treatment of complex childhood trauma, International Journal of Art Therapy, 26:1-2, 37-46, DOI: 10.1080/17454832.2021.1906288
Reis, Aiden J., "The Metaphor of Protected Space in Therapy with Survivors of Trauma: Development of an Art Therapy Method" (2019). Expressive Therapies Capstone Theses. 154. https://digitalcommons.lesley.edu/expressive_theses/154
Shapiro F. (2017). Eye movement desensitization and reprocessing (EMDR): basic principles, protocols, and procedures. 3rd ed. New York, NY: The Guilford Press.

100 Bottles of You on the Wall: Learning to Manage an Inventory of Feelings, Memories & More
Nancy MacGregor, MA, ATR-BC, ATCS, LPC, ACS, CCS
1, 5, 6

Objectives:
1. Describe the use of the jar metaphor as it pertains to several aspects of treatment and self-management of symptoms.
2. Explain how the jar metaphor incorporates trauma-informed treatment modalities.
3. Name 2 or more visual art approaches to use with teen and adult clients using the jar metaphor.

Linehan, M., M., (2014). DBT Training Manual. New York, NY: The Guilford Press.
van der Kolk, B. A. (2014). The body keeps the score: Brain, mind, and body in the healing of trauma. Viking.
Törneke, N. (2017). Metaphor in practice: A professional's guide to using the science of language in psychotherapy. Context Press/New Harbinger Publications.

Activating the Life Force: Nature Archetypes & Intermodal Arts for Spirit, Comfort and Connection
XiaoChuan Xie, MS, LCAT, R-DMT
2, 5, 6, 9

Objectives:
1. Describe 2 or more benefits of using nature archetypes in clinical expressive arts therapy practice.
2. Identify 4 or more nature archetypes and their clinical applications.
3. List 3 or more ways of applying nature archetype-based expressive arts therapy in a long-term care setting, or any other clinical setting.

Lao Tsu. (1972). Lao Tsu Tao te ching: A new translation by Gia-Fu Feng and Jane English (J. English & G. Feng, Trans.). New York: Vintage Books
Knill, P. J., Barba, H. N., & Knill, M. N. (2004). Minstrels of soul: Intermodal expressive therapy. Toronto: Palmerston Press.
Wilhelm, R. (Trans.). (1997). The I Ching: Or, book of changes (C. F. Baynes, Ed.). Princeton, NJ: Princeton University Press.

Exploring Complex Identity Using Narrative & Expressive Arts
Jennie Kristel, MA, REAT, APTT
Michael Watson, PhD, LCMHC
1, 5, 8, 9

Objectives:
1. List 3 or more components of an intersectional model that can be used with diverse populations that incorporates sociometry and narrative for examining complex identities.
2. Name at least 1 method of structured witnessing that can be used in treatment to bolster self-esteem, resilience, and enhance supportive self-reflection.
3. Describe an expressive arts approach that can be used with a variety of populations to exploring complex identity in treatment.

Crenshaw, K.(2019)On Intersectionality: Essential Writings. New Press,
Tomer,D. (2020) https://www.globalnomadsworld.com/psychology-and-coaching/complex-identities-in-a-changing-world-of-new-divide-globalism-vs-nationalism,
Watkins, M. (2015). Psychosocial accompaniment. - Alternative Formats Journal of Social and Political Psychology, 3(1), 324-341

Stepping into Positive Change Through Future Projection
Regina Sewell, MEd, LMHC, PCC, CP
1, 3, 5, 8

Objectives:
1. Describe 2 or more steps towards enacting a future projection scene with clients who are contemplating (or have been told that they need to contemplate) making changes.
2. Name at least 2 sociodramatic techniques that can be used with clients in therapeutic group settings.
3. Name at least 2 psychodramatic techniques that can be used with clients in therapeutic group settings.

Blatner, A. (2000). Foundations of Psychodrama Springer Publishing: New York, NY.
Blatner, A. (1988). Acting in: Practical applications of psychodrama (2nd ed.). New York: Springer.
Rustin, T. A., & Olsson, P. A. (1993). Sobriety shop--a variation on magic shop for addiction treatment patients. Journal of Group Psychotherapy, Psychodrama & Sociometry, 46(1), 12-23.

Symbol & Metaphor in the Mind's Eye: The Neuroscience of Projection
Tim Mewmaw, MS
4, 5, 9

Objectives:
1. Describe 2 aspects of how trauma is nested within neuronal networks.
2. Identify 2 neurological differences between the therapeutic use of symbols and traditional talk therapy in trauma treatment.
3. Explain 3 ways for safely reflecting, validating, and amplifying client projections.
4. Describe 3 approaches for using symbols in trauma treatment.

Barrett, L. F. (2017). How emotions are made: The secret life of the brain. New York, NY. Houghton Mifflin Harcourt.
Dye, H. (2018). The impact and long-term effects of childhood trauma. Journal of Human Behavior in the Social Environment, 28(3), 381-392. https://doi.org/10.1080/10911359.2018.1435328
Hawkins, J. (2021). A Thousand Brains: A New Theory of Intelligence. New York, NY: Basic Books.

Hip Hop Therapy: An Introduction for Expressive Therapists
Jacqui Johnson,LPC, NCC, CCMHC, PMH-C
J.C. Hall, LMSW, EXAT
1, 3, 7, 8

Objectives:
1. Define Hip Hop therapy and list 3 empowerment themes within the lyrics that can be used in a therapeutic setting.
2. Identify Hip Hop therapy as an Expressive Arts therapy and name 3 treatment modalities that are integrated within this approach.
3. Name 3 ways that integrative and person-centered treatment models like Hip Hop therapy can be used to heal racial wounds.
4. Describe how to use the messages expressed within Hip Hop music to support marginalized communities in a culturally responsible way.

Hannus, R., & Kaudne, L. (2017). Effects of integrated arts therapy intervention in youngsters at risk for delinquency
Tyson, E. H., Brown, T. L., & Lovell, A. (2019). The intersection of race, gender, and rap music perceptions: A content validation study of the Rap-music Attitude and Perception Scale. Urban Social Work, 3(1), 25-50. https://doi.org/10.1891/2474-8684.3.1.25
Travis, R., Gann, E., Crooke, A. H., & Jenkins, S. M. (2021). Using Therapeutic Beat Making and lyrics for empowerment. Journal of Social Work : JSW, 21(3), 551–574. https://doi.org/10.1177/1468017320911346

Multi-Day Certificate Training

30 HOUR CERTIFICATION TRAINING INTENSIVE: NOVEMBER 4 - 7

Recovery Coach Academy©: A Certification Training Intensive for Working with Addictions
Lisa Hope, ATR-BC, LADC, LCAT, MAC, CASAC, CRPA
1, 2, 8, 10

1. Complete a working agreement that incorporates at least 5 boundaries to be aware of.
2. Identify 1 art making directive related to identity.
3. List 3 forms of communicating related to "Spectrum of Attitudes."
4. Define recovery as it pertains to any form of addictive behavior.
5. Define scope, values, principles and pathways of recovery.
6. Name 2 or more components of recovery.
7. Describe in writing the qualities of a personalized definition of recovery.
8. Describe 1 or more differences between a recovery coach and any other types of mental health professionals.
9. Define and differentiate between a Recovery Coach, a Sponsor, and a Counselor.
10. Describe the importance of "Staying in your lane" as a Recovery Coach.
11. Define at least 4 components of active listening skills.
12. Define at least 6 personal characteristics that are valued and to be avoided in recovery coaches.
13. Define "Getting your buttons pushed."
14. List at least 3 sexual harassment-related practices and laws.
15. Name at least 3 crisis intervention scenarios in recovery coaching.
16. Define stigma as it pertains to addictions.
17. Identify 6 ways that clients get labeled that support and do not support recovery.
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.
24. Name two or more impacts of power and privilege in the coaching relationship.
25. Identify 1 empowerment art making directive to use in recovery coaching.
26. Name 3 components of making a successful referral to recovery coaching.
27. Define boundaries as they pertain to recovery coaching.
28. Define self-care as it pertains to working with clients with addictions.
29. List 2 or more possible Recovery Plan Headings.
30. Define S.M.A.R.T. goals as they are used in recovery coaching
31. Identify at least 5 recovery coaching skills that could be demonstrated through role playing.

Miller, WR & Rollnick, S.  (2012).  Motivational Interviewing: Helping People Change, 3rd Edition.