THURSDAY MASTER CLASSES

Wet Felting for Mind-Body Connections: Sensory, Somatic, Structured
Laura Bauder, MA, ATR
Charlotte Reed, MSW, MA, ATR-P
5, 6 

Objectives:
1. Identify the 5 steps for wet felting and differences/similarities to dry felting that can be used in therapeutic or clinical settings.
2. Clarify 4 ways in which wet felting engages the Kinesthetic/ Sensory level of the ETC and can promote healing for a variety of populations, especially those who may have blocked or impaired sensory experiencing.
3. Describe 3 ways in which sensory/kinesthetic experiencing during the wet felting process can bring about enhanced mindfulness.
4. Identify two specific scripts for kinesthetic and sensory-focused meditations.
5. Identify 3 ways in which wet felting techniques can be used in clinical settings.
6. Describe how to use the 5 basic steps of wet felting so that they can be used in a variety of clinical setting, not just in an art therapy studio.

Gordon, B. (1980), Feltmaking: Traditions, techniques, and contemporary explorations, New York: Watson-Guptill Publishers
Hinz, L.D., (2009), Expressive therapies continuum, New York: Routledge.
Kabat-Zinn, J., & University of Massachusetts Medical Center/Worcester. (1991). Full catastrophe living: Using the wisdom of your body and mind to face stress, pain, and illness. New York, N.Y: Pub. by Dell Pub., a division of Bantam Doubleday Dell Pub. Group.

Sandplay Therapy - Basic Theory and Practice
Betty Jackson, LMSW, CST-T
5, 6

Objectives:
1. Describe the three primary streams of influence on the development of Sandplay therapy for children and adults.
2. Explain three or more important differences between original Kalffian Sandplay therapy and later developed psychodynamically oriented sandtray therapies for children suffering from emotional and behavioral issues.
3. Discuss at least three reasons why Sandplay therapy is best practiced as a non-directive modality with both children and adults.
4. List 7 or more recommended categories of miniatures to be included in a Sandplay collection.
5. Explain one primary reason why direct interpretation of imagery is not recommended in the practice of Sandplay therapy with children or adults.
6. Describe at least three distinct aspects of Sandplay therapy and how they correspond to different stages of the neuro-sequential model of therapeutics, thereby promoting neural integration for children and adults.

Badenoch, B. (2018). The heart of trauma: healing the embodied brain in the context of relationships. New York, NY: W.W. Norton & Company, Inc.
Kalff, D. M. (2020). Sandplay: A psychotherapeutic approach to the psyche. (B. Matthews, Trans.). Oberlin, OH: Analytical Psychology Press. (Original work published in 1966).
Sherwood, D. & Jackson, B. (Eds.) (2018). Into the Heart of Sandplay. Oberlin, OH: Analytical Psychology Press.


Soul Work Focusing on Grief and Loss: Integrating Jungian Practices with Art Making & Writing
Evie Lindemann, MA, MAAT, LMFT, ATR-BC, ATCS
4, 5, 6

Objectives:
1. State 1 or more ways to use active imagination with adults to help them cope with grief and loss.
2. Describe 2 mandala making techniques that help clients to both contain, express, and manage strong emotions related to grief and loss.
3. List 3 or more types of grief related symptoms common across age groups.
4. Apply two different writing practices in a clinical situation with complicated loss.
5. Explain the use of Jung's active imagination practice in applications to visual art, writing, and somatically-based interventions.
6. Describe 2 or more methods of integrating both visual art and writing techniques into clinical practice.

DeSpelder, L.A. (2015). The Last Dance (New York: McGraw Hill).
Brooke, S.L & Miraglia, D.A. (Ed) (2015). Using the Creative Therapies to Cope with Grief and Loss (Springfield: Charles C Thomas).
Slattery, D.P. (2015). Bridge Work: Essays on Mythology, Literature, and Psychology (Carpinteria: Mandorla Books).

THURSDAY MORNING WORKSHOPS

Substance Use Disorder & Expressive Arts: Contemporary Viewpoints & Treatment Interventions
Lisa Hope, ATR-BC, LADC, LCAT, MAC, CASAC, CRPA
1, 4, 8

Objectives:
1. Name and describe all 5 stages of recovery.
2. Describe at least 3 individualized reflections using the stages of recovery as framework.
3. Identify at least 1 major task of each stage of recovery.

William L. White. (2018). Recovery Rising: A Retrospective of Addiction Treatment and Recovery Advocacy. CreateSpace.
Kelly, J. & White, W. (Eds., 2011). Addiction Recovery Management: Theory, Research and Practice. New York: Springer Science.
White, W. & Kelly, J. (2010) Addiction Recovery Management: Theory, Research and Practice. Springer Publishing





SOCIAL-EMOTIONAL LEARNING: AN ART THERAPY APPROACH
Suzanne Silverstein, MA, ATR
3, 5, 6, 9

Objectives:
1. Describe 2 ice breaker activities that help develop empathy and communication.
2. Describe 2 methods from the council model that improve social emotional learning.       
3. Identify 2 or more steps for facilitating art therapy activities that promote self-awareness, positive attitudes, and the skills necessary to understand and manage emotions.       

Miller, J. (2015). The power of parenting with social and emotional learning. Huffington Post, April 15, 2015.
Domitrovich, C. E., Durlak, J., Staley, K. C., & Weissberg, R. P. (2017). Social-emotional competence: An essential factor for promoting positive adjustment and reducing risk and school children. Child Development, 88, 408-416. doi:10.1111/cdev.12739
Dusenbury, L., Calin, S., Domitrovich, C., & Weissberg, R. P. (2015). What does evidence-based instruction in social and emotional learning actually look like in practice? A brief on findings from CASEL’s program reviews. Chicago, IL: CASEL.

The Healing Power of Children’s Imagination: Fostering Resilience for Challenging Times
Charlotte Reznick PhD
1, 2, 5, 8

Objectives:
1. Identify 3 imagination tools that can reduce trauma and increase coping skills in children and teens.
2. List 3 physical /psychological areas where the potency of the brain’s imagination may be appropriate as part of a therapeutic program treating children and adolescents.
3. Describe 3 "steps" using meditation and imagination techniques learned today and how you would specifically apply them in your practice with children and/or adolescents.

Reznick,, C. (2016). "Imagery as a therapeutic tool for children." Transformative Imagery: Cultivating the Imagination for Healing, Change, and Growth, 149-161. Jessica Kingsley, London, UK, Philadelphia, PA.
Kohen, D.P. and Olness, K. (2011) Hypnosis and Hypnotherapy with Children (4th Ed.) Routledge, New York, NY.
Kaiser Greenland, S. (2016) Mindful Games: Sharing Mindfulness and Meditation with Children, Teens, and Families Shambhala, Boulder, CO.

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 http://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.

Thursday Evening Workshops

Fostering Creative Expression for Sensitive Children- Movement, Mindfulness, and Play
Rachael Singer, BC-DMT
4, 8, 9

Objectives:
1. Identify 2 or more ways to improve self-regulation and engagement through movement for children over zoom.
2. Describe 2 or more ways to support a child when they are having a stress response state (ie: fight/flight/freeze).
3. Apply 2 ways to integrate Mindfulness and Play in therapeutic sessions with children over zoom.

Serasis, K. (2019). The Meaning of Movement: Embodied Developmental, Clinical and Cultural Perspectives of the Kestenberg Movement Profile. American Journal of Dance Therapy 41 (1): 122-144.
Greenspan, S. I., Wieder, S., & Simons, R. (1998). The child with special needs: Encouraging intellectual and emotional growth. Reading, MA: Addison-Wesley
Tortora, S. (2010). The dancing dialogue: using the communicative power of movement with young children. Baltimore, MD: Paul H. Brookes Pub.

Creative Interventions for Children's Anticipatory Grief and Bereavement
Jennifer Allen, MS, ATR-BC, LMFT
4, 6, 9

Objectives:
1. Apply 4 different creative interventions that support children who are grieving.
2. List 3 aspects of children’s anticipatory grief and bereavement.
3. List 2 differences between anticipatory grief and bereavement.

Kuban, Caelan, and Slamer, Sarah. (2012) More One-Minute Interventions for Traumatized Children and Adolescents. Clinton Township, M.I: TLC Star Global Learning Network.
David J. Schonfeld, Thomas Demaria and COMMITTEE ON PSYCHOSOCIAL ASPECTS OF CHILD AND FAMILY HEALTH, DISASTER PREPAREDNESS ADVISORY COUNCIL (Sept.2016) Supporting the Grieving Child and Family. Pediatrics, e1-e12.
Kuban, Caelan, and Steele, William (2103). Working with Grieving and Traumatized Children and Adolescents: Discovering What Matters Most Through Evidence-Based, Sensory Interventions. Hoboken, New Jersey: Wiley and Sons. Helping a Child with Anticipatory Grief. by Education.com. 2010. Web article: https://www.education.com/magazine/article/anticipatory-grief/?nocache.