Expressive Therapies Summit: Los Angeles 2020

2021 THURSDAY LEARNING OBJECTIVES

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

THURSDAY MASTER CLASSES & INTENSIVES

ART FOR ACCESS TO (AND INTEGRATION OF) NON-ORDINARY STATES
Jennifer Allen
4, 5

Objectives:
1. Name 4 non-ordinary states your client population may currently be experiencing.
2. List 3 reasons why art is particularly useful in the integration of non-ordinary states in treatment, expecially with psychedelic experience and dreams.
3. Describe the 5-step "Art for Access" process for integration of non-ordinary states in clients.
4. List the 3 psychedelics currently being studied/used in the U.S. and which mental health issue each treats.
5. List the 2 other primary factors besides integration that studies show to correlate with positive outcome of non-ordinary states promoted by psychedelics.
6. Identify the 6 steps for organizing a dream as part of the integration process.

Allen, Pat (2005). Art is a Spiritual Path. Shambhala.
 Ingerman, Sandra (2008) Shamanic Journeying: A Beginner #39;s Guide. Sounds True.
 Moss, Robert (2012). Dreaming the Soul Back Home: Shamanic Dreaming for Healing and Becoming Whole. New World Library.

ATTACHMENT-BASED PLAY THERAPY FOR EMOTIONAL, BEHAVIORAL & SENSORY CHALLENGES
Tammi Van Hollander, RPT-S, LCSW
1, 4, 5

Objectives:
1. Identify 2 or more anxiety symptoms evident in play therapy techniques to better inform treatment outcomes.
2. Name 3 attachment-based play activities that can improve client engagement in treatment.
3. Name 1 or more neurobiological implications of using play therapy with young clients with various diagnoses.
4. List 3 benefits for introducing play therapy into clinical practice for treatment-resistant and challenging children and families.
5. Describe how play therapy can reframe trauma experiences, increase self-regulation, and facilitate mind-body awareness.
6. Identify 3 ways sandtray play therapy can quiet a child’s nervous system when dealing with challenging issues.

Axiline, Virginia M. (1964). Dibs: In Search of Self. Boston: Houghton-Mifflin
 Brazelton, T. Berry. Touchpoints: Your Child's Emotional and Behavioral Development: Beacon House (2017) “The Repair of Early Trauma: A Bottom Up Approach.” www.beaconhouse.org.uk
Bailey, Becky (2009) I Love You Rituals. Harper Collins, Publishing: NY

 CREATING ALTERED BOOKS IN TREATMENT FOR SELF-CONTROL & RENEWAL
Kathryn (Kat) Kirby, MEd, ATR-BC
1, 5, 6

Objectives:
1. State 2 or more ways that creating Altered Books can help clients develop a sense of control over their lives.
2. Demonstrate 3 or more techniques of altering pages to create an altered book, to be used with adolescents.
3. Describe 2 or more ways of determining the symbolic meaning of books in a client's life, and how to incorporate these symbols and metaphors into the process of altering a book.
4. State 1 or more reasons why adding a secret compartment or doorway to an altered book might be healing for trauma survivors.
5. Explain 2 or more techniques for creating "found poetry" on an altered book page, which could help those in addiction recovery programs.
6. Describe 2 or more features of a book that would make it a good candidate for altering with clients with mood disorders.

Brazelton, B. (2004). Altered books workshop: 18 creative techniques for self-expression. Cincinnati, OH: North Light Books.
Cobb, Rebecca A. & Negash, Sesen (2010) "Altered book making as a form of art therapy: a narrative approach." Journal of Family Psychotherapy, 21:1, 54-69.
Chilton, Gioia. (2007) "Altered books in art therapy with adolescents." Art Therapy: Journal of the American Art Therapy Association, 24(2) pp. 59-63 © AATA, Inc. 2007.

DIAGNOSTIC DRAWING SERIES TRAINING: 35 YEARS OF ASSESSMENT THROUGH ART
Kathryn Johnson, PhD, ATR
11

Objectives:
1. List the required/standardized materials for administering a DDS for assessment and research.
2. State the 3 directives for administering a DDS for assessment and research.
3. Name 5 or more structural characteristics from the DDS Drawing Analysis Form used in rating DDS Series.
4. Identify 3 or more features of scientific research that are part of the 30-year international study of the DDS.
5. Identify 5 benefits of using this valid and reliable art interview with varied clinical populations.
6. Describe 3 opportunities for using the DDS in clinical practice.

Betts, D. (2013). "Art therapy assessments with diverse populations: The Diagnostic Drawing Series" (addressed by Cohen, Mills, and Ichiki). In P. Howie, S. Prasad, & J. Kristel (Eds)., Using art therapy with diverse populations: Crossing cultures and abilities (pp. 46-47). London: Jessica Kingsley.
Cha, C. & Kim, K. (2010). Differences of drawing characteristics between schizophrenics and normal people, as shown by the Diagnostic Drawing Series (DDS).
The Arts in Psychotherapy, 6(1), 145-72.2. Ritnour, M. M., Bovington, M., Knutsen, C., Roy, A., Hoshino, J., & Johnson, K. (2015). An examination of differences between adult and adolescent controls using the Diagnostic Drawing Series. The Arts in Psychotherapy, 42, 63-74

FOCUSING & ART THERAPY: ACCESSING BODY WISDOM THROUGH CREATIVE EXPRESSION
Elizabeth Baring, MS, ATR-BC, NCPsyA, LCAT, LP
1, 5, 6

Objectives:
1. Define and describe attunement as it pertains to the clinical relationship.
2. Name at least 1 of the pillars of the Focusing model as it is used in clinical situations.
3. Describe the role of the "Inner Critic" and how it impedes therapeutic growth.
4. State at least 1 possible origin of "self-critical voices" as they relate to the therapy process.
5. List at least 2 methods for effectively navigating self-critical voices that can be taught in therapy.
6. Describe 2 or more steps in the process of focusing as a pathway for achieving balance and wholeness through therapeutic growth.

Gendlin, E. T. (1996). Focusing-oriented psychotherapy: A manual of the experiential method. New York, NY: Guilford Press.
Cornell, A.W. (2013). Focusing in clinical practice. New York: W.W. Norton.
Rappaport, L. (2009). Focusing-Oriented art therapy accessing the body’s wisdom and creative intelligence. London: Jessica Kingsley

JOURNALING WITH THE BRAIN IN MIND
Kathleen (Kay) Adams, LPC
1, 4, 5, 9

Objectives:
1. Describe 2 or more journal processes for promoting increased mindfulness.
2. Describe 2 or more journal processes for enhancing identity.
3. Discuss 1 or more ways that handwriting is a powerful neurological change agent.
4. List at least 1 way to promote client bonding with the journal as healthy self-object.
5. Describe 2 or more types of neurological differences for which writing can be an effective therapeutic tool.
6. Name 2 or more ways to adapt journal techniques to clients affected by factors such as dementia, stroke, or traumatic injury.

Adams, Kathleen, Ed. 2013. Expressive Writing: Foundations of Practice. Lanham, MD: Rowman & Littlefield Publishing Group.
Pennebaker, James W. 2013 . Writing to Heal: A Guided Journal for Writing about Trauma and Emotional Upheaval. Wheat Ridge CO: Center for Journal Therapy.
Ross, Deborah and Kathleen Adams. 2016. Your Brain on Ink: A Workbook on Neuroplasticity and the Journal Ladder. Lanham, MD: Rowman and Littlefield Publishing Group.

RECOVERY COACH ACADEMY: 4 DAY INTENSIVE TRAINING FOR RECOVERY FROM ADDICTIONS
Lisa Grey Hope, ATR-BC, LADC, LCAT, MAC,CASAC, CRPA
1, 2, 6

Objectives:
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.

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.

SOCIAL EMOTIONAL ARTS ON A SHOESTRING FOR INDIVIDUALS & GROUPS IN ANY SETTING
Ping Ho, MA, MPH
Mimi Savage, PhD, RDT-BCT
Karen Howard, RMT, CEAP
1, 5, 6

Objectives:
1. Based on day one's curriculum, state 1 effective way to establish rapport when offering an arts activity to someone for the first time.
2. For each of the two art forms learned today, identify 1 way to facilitate engagement of reluctant participants.
3. Describe how 1 activity learned on day one can be adapted to accommodate cognitive or physical limitations and group participation.
4. Give 2 examples of how other art forms can be integrated into a specific activity learned on day one.
5. Explain at least 2 ways that writing/poetry can enhance cultural competence.
6. Explain at least 2 reasons that synchrony through movement has value in clinical practice.

Puetz, TW, Morley CA, and Herring MP. "Effects of creative arts therapies on psychological symptoms and quality of life in patients with cancer." JAMA Internal Medicine. 2013; 173(11):960-969.
Uttley, L, Scope A, Stevenson M, Rawdin A, Taylor Buck E, Sutton A, et al. "Systematic review and economic modeling of the clinical effectiveness and cost-effectiveness of art therapy among people with non-psychotic mental health disorders." Health Technology Assessment, 2015;19(18).
Nilsson U. "The anxiety- and pain-reducing effects of music interventions: a systematic review." AORN Journal, 2008; 87(4):780-807.

WOMEN, TEXTILES & WELL-BEING: PIECING IT TOGETHER WITH CREATIVITY, CONNECTION AND COMMUNITY
Rosine Ferber, PhD, LMFT, ATR-BC
3, 6, 7

Objectives:
1. Name and describe 6 psychotherapeutic benefits of working with textiles in therapy with women.
2. Describe how working with textiles can alleviate symptoms of anxiety and depression in women.
3. Demonstrate how textile work can be a mindful, meditative activity.
4. Identify 3 skills that clients will master during the process of working with textiles
5. Describe 3 ways in which working with textiles can enhance a client's self-esteem
6. Describe how piecing textiles can be seen as a "flow" activity

Futterman Collier, Ann (2013). Using Textile Arts and Handcrafts inTherapy with Women. London and Philadelphia: Jessica Kingsley Publishers.
Ferber, Rosine (2005). The Psychotherapeutic and Transpersonal Aspects of the Art And Practice of Hand Knitting: A Women's Study. Doctoral Dissertation.
 Csikszentmihalyi, M.(1990). Flow: the psychology of optimal experiences. New York: Harper and Row.

THURSDAY MORNING WORKSHOPS

ARTFUL DYING: ALLEVIATING DEATH ANXIETY AND FINDING CLOSURE THROUGH ART, MUSIC & DRAMA
Patricia Jauchler, MS, MA, RDT/BCT
1, 5, 9

Objectives:
1. Identify and define Byock’s 5 tasks of dying.
2. Name 2 differences between the structures in drama therapy and playback theatre.
3. Identify and describe at least 3 creative arts techniques to use in death education and preparation.

Byock, Ira, (2014). The Four Things That Matter Most: A Book About Living (10th Anniversary Edition). Atria Books, New York.
Byock, Ira, (1997). Dying Well: Peace and Possibilities at the End of Life. Riverhead Books, New York.
 Emanuel, Linda; Bennett, Katherine; & Richardson, Virginia. The Dying Role. Journal of Palliative Medicine, Volume 10, Number 1, 2007.

BUILDING INNER STRENGTH & RESILIENCE WITH CLAY: LESSONS FROM PIONEER ART THERAPIST EDITH KRAMER
Susan Ainlay Anand, MA, ATR-BC, ATCS, LPAT
Loni Gerity, DA, ATR
5, 6

Objectives:
1. List at least 3 ways that demonstrate how focusing in on the clay experience can support integration in a variety of populations.
2. Describe at least 3 ways in which these techniques could be applied to various populations.
3. Define at least 3 factors that encourage a positive sense of self when working with clay.

Acosta, I. (2018). Teaching with Edith. In L. Gerity & S.A. Anand (Eds.), The legacy of Edith Kramer: A multifaceted view (pp. 67-70). New York and London: Routledge.
Gerity, L., & Anand, S.A. (Eds.) (2018). The legacy of Edith Kramer: A multifaceted view. New York and London: Routledge.
Kramer, E., & Wilson, L. (1979). Childhood and art therapy: Notes on theory and application. New York: Schocken Books.

HEALING TRAUMATIC GRIEF & LOSS THROUGH PLAY FOR ALL AGES: A BOTTOM-UP BRAIN APPROACH IN THREE STAGES
Leslie Baker, MFT, NCC, RPT-S
Mary Ruth Cross, MS, MFT, NCC, RPT-S
1, 4, 10

Objectives:
1. Identify at least 3 factors and warning signs that indicate traumatic bereavement in youth and adults in play therapy.
2. Define and describe the three stages of the developmental model of grief and play therapy focus for each stage in working with children, teens and adults.
3. Articulate and apply 3 play-based interventions to address traumatic grief for children, teens and adults who are survivors of a traumatic loss.

Beacon House Therapeutic Trauma and Treatment Team, (n.d.) Retrieved from https://beaconhouse.org.uk/useful-resources/
Neimeyer, R. A., & Sands, D. C., (2015) Containing violent death. In R. A. Neimeyer (Ed.), Techniques of grief therapy: Assessment and interventions. New York: Routledge.
Pearlman, L.A., Wortman, C.B., Feuer, C. A, Farber, C.H., Rando, T.H., (2014). Traumatic Bereavement: A Practitioner's Guide. New York: The Guilford Press.

INTEGRATING YOGA & PLAY THERAPY FOR HEALING ADVERSE CHILDHOOD EXPERIENCES
Michelle Pliske, MSW, RPT-S, LCSW
4, 9, 10

Objectives:
1. Describe 2 or more aspects of human stress-response system and neurobiology of trauma that play therapists can identify.
2. Describe how play therapists can successfully combine two play therapy techniques with yoga techniques for children to develop adaptive coping skills.
3. Describe how play therapists can integrate one yoga and play adventure story with general play therapy practice.

Galantino, M. L. (2008). Therapeutic effects of yoga for children: A systematic review of the literature. Pediatrics of the American Physical Therapy Association, 20, 66-80.
Gaskill, R. L. & Perry, B. (2014) The neurobiological power of play: Using the neurosequential model of therapeutics to guide play in the healing process. In C. A. Malchiodi & D.A. Crenshaw (Eds.) Creative arts and play therapy for attachment problems. New York, NY: The Guilford Press.
Goodyear-Brown, P. (2010). Play therapy with traumatized children: A prescriptive approach. Hoboken, NJ: John Wiley & Sons.

JUSTICE-INVOLVED YOUTH AND THE ARTS: A CULTURALLY RESPONSIVE, MULTIDISCIPLINARY, TEAM APPROACH
Laura Miera, MA, ATR
3, 5, 8

Objectives:
1. List 2 or more definitions of justice-involvement for youth and name 3 barriers to seeking help that at-risk/justice-involved youth face.
2. Describe 5 or more therapeutic arts activities for justice-involved youth with complex trauma and how the activities engaged youth resistant to traditional services and supported their healing.
3. Identify 2 or more ways cultural responsiveness was applied to the arts programming.

National Academies of Sciences, Engineering and Medicine. 2017. Improving Collection of Indicators of Criminal Justice System Involvement in Population Health Data Programs: Proceedings of a Workshop. Washington, D.C. The National Academies Press. https://doi.org/10.17226/24633.
American Academy of Pediatrics. Justice-Involved Youth: The Newest Target for Health Equity Approaches? Chisolm. D. Published online November 01, 2017 PEDIATRICS Vol. 140 No. 5 November 01, 2017 e20172800 doi: 10.1542/peds.2017-2800
Office of Juvenile Justice and Delinquency Prevention. 2013. PTSD, Trauma, and Comorbid Psychiatric Disorders in Detained Youth. Abram et al. ojjdp.gov

SELFY: A PROGRAM FOR ENGAGING MIDDLE SCHOOLERS IN SOCIAL & EMOTIONAL ACTIVITIES
Sarah Young-Sheppard, MSW
1, 3, 9

Objectives:
1. Describe 1 or more reasons why an ‘emotional check in’ is an important part of building social and emotional competencies.
2. List 2 or more reasons why social and emotional competencies are an important part of youth development.
3. List 2 or more steps required to implement the SELFY program in classrooms, groups, or afterschool spaces.

[CITATIONS Forthcoming}

TIMESLIPS: IMPROVISATIONAL STORYTELLING FOR CULTIVATING CONNECTIONS & AWE IN CHALLENGING POPULATIONS
Sarah Jacobus, MFA, LCSW
1, 3,

Objectives:
1. List 2 or more research findings on the topics of awe and wonder.
2. Explain 2 core concepts of TImeSlips Creative Storytelling.
3. Describe the use of TimeSlips Creative Storytelling technique in therapeutic settings.

Gallagher, S., Janz, B., Reinerman, L., Trempler, J., Bockelman, P. (2015). A neurophenomenology of awe and wonder. London: Palgrave MacMillan.
Rudd, M., Vohs, K. D., & Aaker, J. (2012). Awe expands people's perception of time, alters decision making, and enhances well-being. Psychological Science, 23, 1130-1136.
Swinnen, A., & de Medeiros, K. (2018). ‘Play’ and people living with dementia: A humanities-based inquiry of TimeSlips and the Alzheimer’s Poetry Project. The Gerontologist, 58(2), 261-269.

THURSDAY AFTERNOON WORKSHOPS

ACCESSING SOUL WISDOM THROUGH JEWISH SPIRITUAL PRACTICES AND THE EXPRESSIVE ARTS
Edna Miron- Wapner, MA, CAGS
Nancy Weiss, LCSW, BCD
1, 5, 8

Objectives:
1. State 1 or more ways that the Lights of Mussar™ Cards can facilitate self-exploration of spiritual and other issue in counseling and psychotherapy contexts.
2. List at least 3 Jewish-spirituality-based principles, relevant to clinical practice with adults.
3. Describe 3 ways in which text-based materials can deepen insight and facilitate creative activities in counseling and therapy.

Fine, L., Fishbane, E, Rose, O. N. (2011). Jewish mysticism and the spiritual life: Classical texts, contemporary reflections. Woodstock, VT: Jewish Lights Publishing.
Jaffe, D. (2016). Changing the world from inside out: a Jewish approach to personal and social change. Boulder, CO: Trumpeter Books.
Miron-Wapner, E. (2019). Expressive Kavannah: Creativity, meaning and healing. Kindle Direct Publishing.

ADDRESSING LONELINESS THROUGH MOVEMENT & ART
Julia Vishnepolsky
2, 4, 9

Objectives:
1. List 3 or more ways to use the creative arts as a tool to decrease social isolation amongst adolescents and older adults.
2. Identify 3 or more ways that engagement with older adults is beneficial to the social emotional health of adolescents in recovery from substance use disorders.
3. Name 1 or more ways that the creative arts can be utilized as a platform for advocacy and social change.

Melhuish, R., Beuzeboc, C., & Guzmán, A. (2017). "Developing relationships between care staff and people with dementia through Music Therapy and Dance Movement Therapy: A preliminary phenomenological study." Dementia, 16 (3), 282–296.
Cohen, G. D., Perlstein, S., Chapline, J., Kelly, J., et al. "The Impact of Professionally Conducted Cultural Programs on the Physical Health, Mental Health and Social Functioning of Older Adults." The Gerontologist. Dec 2006; 46, 6.
 Sumic, A., Michael, Y. L., Carlson, N. E., Howieson, D. B., & Kaye, J. A. (2007). "Physical Activity and the Risk of Dementia in Oldest Old." Journal of Aging and Health, 19 (2), 242–259.

AROUND THE BORDER: EXPRESSIVE THERAPISTS WORKING WITH FAMILIES IMPACTED BY IMMIGRATION
Einat Metzl, PhD, ATR-BC, RYT, LMFT
Ana Laura Trevino Santos
1, 5, 8
Objectives:
(Forthcoming)

Linesch, D, Metzl, E. S. & Treviño, AL (2016). Various Aspects of Art Therapy in Mexico/Algunos Aspectos de la Terapia de Arte en México. The Wiley Handbook of Art Therapy, 745-752
Linesch, D., Ojeda, A., Fuster, M. E., Moreno, S., & Solis, G. (2014). "Art therapy and experiences of acculturation and immigration." Art Therapy, 31(3), 126-132.
Bender, B., Metzl, E. S., Selman, T., Gloger, D., & Moreno, N. (2015). Creative soups for the soul: Stories of community recovery in Talca, Chile, after the 2010 earthquake. Psykhe (1), 10-15.

AUTOREGULATION AND PLAY INTERVENTIONS: HEALING THE BODY
Jen Lefebre, PsyD, RPT-S
1, 4, 5

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.

FACILITATING JOY, AWARENESS & HEALING THROUGH AUTHENTIC MOVEMENT
Berti Klein, MA, MCAT, MSS, NCC, BC-DMT
1, 3, 4

Objectives:
(Forthcoming)

Authentic Movement: Essays by Mary Starks Whitehouse, Janet Adler, and Joan Chodorow. Edited bu Patrizia Pallaro – 1999 - Jessica Kingsly Publishers, London & Philadelphia
Pallaro, P., Ed (2007) Authentic Movement: Moving the Body, Moving the Self, Being Moved: A Collection of Essays: Volume 2. Jessica Kingsly Publishers, London & Philadelphia
 Offering from the Conscious Body: The Discipline of Authentic Movement. Janet Adler – 2002 – Inner Traditions, Rochester, VT
The Metaphoric Body: A Guide to Expressive Therapy Through Images and Archetypes. Nira Ne’eman & Lea Barthal. 1993 Jessica Kingsly Publishers, London & Philadelphia.

FINDING THE WORDS TO SAY IT: THE HEALING POWER OF POETRY
Robert Carroll, MD
1, 4

Objectives:
1. Identify 2 or more ways that expressive use of language can be used to facilitate healing, growth and transformation in individuals, groups, families and community.
2. Clarify 1 or more ways that sensory input can be used to make experience more “real” in treatment.
3. Describe 2 or more writing and reading activities that can be used in counseling or psychotherapy with individuals, families, groups and community.

Robert Carroll, Amazing Change: The Wisdom Illness, Death and Dying Provides. Bombshelter Press 2009
   Robert S. Carroll, "Finding the Words to Say it: The Healing Power of Poetry," eCAM, Summer, 2005; Oxford University Press.
   Robert S. Carroll, Jack Coulehan, Kykosa Kajangu, "Wisdom Poetry Trialogue," Journal of Poetry Therapy, v.19:4, pp.195-227, Dec. 2006.

HOLDING OUR CLIENTS IN OUR BODIES: MANAGING SOMATIC COUNTERTRANSFERENCE
Gabrielle Kaufman, MA, LPCC, BC-DMT, NCC
1, 3, 5

Objectives:
(Forthcoming)

SOCIAL-EMOTIONAL LEARNING: AN ART THERAPY APPROACH
Suzanne Silverstein, MA, ATR

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 “WISE BODY” APPROACH IN SANDPLAY: A SOMATIC PROCESS FOR TRAUMATIZED CLIENTS & OTHERS
Linda Elaine Bath, PhD, LMFT, CST-T
Patrick Faggianelli, PhD
4, 5, 6

Objectives:
1. Describe 2 components of sandplay therapy that represent a “wise body” approach to working with children/adults.
2. Practice 3 mindfulness techniques that can be used to improve one’s therapeutic presence.
3. Define 3 qualities of metaphoric play, and its role in self-regulation, for people who have experienced trauma.

Faggianelli, P., Lukoff, D. (2006). Aikido and Psychotherapy: A Study of Psychotherapists Who Are Aikido Practitioners. Journal of Transpersonal Psychology, November (38): 159-178.
Bath, L. (2019). The path of buried treasure: Transforming the negative mother in the sandplay of a three-year-old girl. The Japanese Journal of Play Therapy,(18)1: 111-125.
Kalff, D. (1980). Sandplay a psychotherapeutic approach to the psyche. Temenos Press.

THERAPEUTIC IMPROVISATION IN CLINICAL PRACTICE: INDIVIDUAL, FAMILY & GROUP APPROACHES
Neal King, LCSW
1, 3, 5

Objectives:
1.
2. Name 4 common treatment models and techniques that can be enriched through integrating therapeutic improvisation.
3. List at least 2 immediate ways that clinicians can facilitate therapeutic improvisation in their daily practice.

Norton, P. (2012). Group Cognitive-Behavioral Therapy of Anxiety: A Transdiagnostic Treatment Manual. The Guilford Press.
Wiener, D. (1994). Rehearsals for Growth: Theater Improvisation for Psychotherapists. W. W. Norton & Company.
 Wiener, J. (2003). "Action Therapy with Families and Groups: Using Creative Arts Improvisation in Clinical Practice." American Psychological Association

THURSDAY EVENING WORKSHOPS

CORE CREATIVITY: DEEPENING THE CONNECTION TO YOUR UNCONSCIOUS
Ronald A. Alexander, PhD, MFT, SEP
2, 6

Objectives:
1. List 1 or more ways that mindfulness meditation and positive psychological skills can be used to promote insight and create new neural pathways for healthy and creative brain development.
2. Describe 1 or more ways that mindfulness or breathing techniques can access the unconscious and its healing inner resources.
3. State 2 or more ways that mindfulness, somatic practices, and mind-body therapy exercises can be incorporated into treatment to access one’s core creativity.

Dr Danny Penman Ph.D.; Mindfulness for Creativity: Adapt, Create and Thrive in a Frantic World, Little, Brown Book Group, 2015
Professor Viviana Capurso, Professor Franco Fabbro, and Professor Cristiano Crescentini, “Mindful creativity: the influence of mindfulness meditation on creative thinking” Published online in Frontiers in Psychology, 2014 Jan 10. doi: 10.3389/fpsyg.2013.01020
Christina Congleton, Britta K. HölzelSara W. Lazar: Mindfulness Can Literally Change Your Brain, Harvard Business Review, January 08, 2015

 CRAFTING HEALTHY BOUNDARIES WITH SOUND & IMAGERY
Stacie Yeldell, MA, MT-BC, AVPT
4, 5

Objectives:
1. Name 2 ways to treat conditions such as anxiety, depression, or addiction through guided verbal cues and imagery.
2. Demonstrate 1 or more ways to incorporate melodic lullaby as a tool for holding and grounding in individual and group treatment settings.
3. Identify 3 signs of boundary violation, as well as compassion fatigue, by using music therapy mindfulness methodology.

Sacks, Oliver. Musicophilia. "Music on the Brain: Imagery and Imagination." New York: Alfred A. Knopf, 2007.
Montello, Louise. Essential Musical Intelligence. "Music as Mind: Witnessing." Wheaton: Quest Books, 2002.
Amao, Albert PhD. Healing Without Medicine. Wheaton: Quest Books, 2014.

 INTERGENERATIONAL, INTERCULTURAL ART & STORYTELLING FOR HEALING DEPRESSION, ANXIETY AND ISOLATION
Lorraine Campanelli, BS, MS, MSW

Objectives:
(Forthcoming)

 STRESSBUSTING: WRITING THROUGH TROUBLED TIMES
Kathleen (Kay) Adams, LPC
1, 4, 5

Objectives:
1. Identify 1 or more ways that expressive writing can be used for improved stress management.
2. Discuss 5 linked writing processes designed to identify, explore, and shift a specific stress response.
3. Use 2 or more writing interventions as stress management devices for use with clients, students, and groups.

Adams, Kathleen, Ed. 2013. Expressive Writing: Foundations of Practice. Lanham, MD: Rowman & Littlefield Publishing Group.
Bolton, Gillie, Kate Thompson and Victoria Field, Eds. 2006. Writing Works. London: Jessica Kingsley.
Pennebaker, James W. 2013. Writing to Heal: A Guided Journal for Writing about Trauma and Emotional Upheaval. Wheat Ridge CO: Center for Journal Therapy.

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