FRIDAY MASTER CLASSES

Internal Family Systems (IFS) & Art Therapy: Our “Parts” in the Pandemic Era
Peggy Kolodny, MA, ATR-BC, LCPAT
Amanda Bechtel, MS, ATR-BC, LCPC, LCPAT
Salicia Mazero, MA, ATR, LPC, CEDS
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.

Gerhard Adler (1973) Jung Letters 1906-1907) Routledge. London
Goulding, R. & Schwartz, R. (2002). The mosaic mind: Empowering the tormented selves of child abuse survivors. Oak Park, IL: Trailhead Publications.
Krause, P. (2013). Child counseling with internal family systems therapy. Self Leadership.org. Retrieved from http://www.selfleadership.org/child-counseling-therapy.html
Lavergne, M. (2004). Art therapy and internal family systems therapy: an integrative model to treat trauma among adjudicated teenage girls. Canadian Art Therapy Association Journal: 17(1), 17-36.
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.

COVID-Age Healing & the Ancient Art of Kintsugi: Repairing the Broken Bowl
Christa Brennan, LCAT, ATR-BC, CASAC, LPC
1, 5, 6 

Objectives:
1. Identify 3 clinical applications of Expressive Arts Therapy in grief, loss and trauma counseling.
2. Define the concepts of Wabi Sabi and Kintsukuroi and how these concepts can be applied to the process of grief and mourning.
3. Describe mastery in the art of Kintsukuroi as applied in Art Therapy and identify 2 or more key concepts of resiliency related to Zen Buddhism.
4. Explain the connection between Attachment Theory and Broken Bowl.
5. Apply 2 or more concepts of Neimeyer’s Constructivist Theory of Meaning Making to Broken Bowl.
6. List 1 or more benefits of Broken Bowl when used with individuals who are grieving or healing from trauma.

Levine, S. K. (2009). Trauma, Tragedy, Therapy: The Arts and Human Suffering. Philadelphia, PA: Jessica Kingsley Publishers.
Thompson, B. E. & Berger, J. S. (2011). Grief and expressive arts therapy. In R.A. Neimeyer, D.L. Harris, H.R. Winokuer, & G.F. Thornton (Eds.) Grief and bereavement in contemporary society bridging research and practice. New York: Routledge
Resiliency In Action: Practical Ideas for Overcoming Risks and Building Strengths in Youth, Families, and Communities, published by Resiliency In Action. Copyright 2007 Resiliency In Action, Inc., all rights reserved. By Nan Henderson, M.S.W.


Dance for All Facilitator Training - Movement Curriculum for Social Emotional Learning
Vicki Alvarez, MS, R-DMT
Clory Rossi-Shewan, MA, LMFT
3, 4, 8

Objectives:
1. Identify 4 components of managing a therapeutic movement session with participants with special needs to promote healthy expression in a safe environment.
2. Practice 1 method of facilitating the DFA (Dance For All) curriculum to a population of your choice to enhance the clinician's leadership skills, cognitive flexibility, and effective communication.
3. Apply 2 ways to enhance self-care grounding tools through mindfulness and reflection, in clinician's personal and professional life.
4. Demonstrate 2 or more ways to adapt curriculum guidelines to clinician's intended populations.
5. State 1 or more challenges experienced during hands-on facilitation to receive positive feedback and enhanced professional development.
6. Identify 1 or more attainable goals for clinicians to focus on throughout the session to promote intentionality for self-care and self-awareness purposes.

Dunphy K. and Scott J. (2003). Freedom to Move. Sydney: MacLennan + Petty Limited
Ho P, Friedman G and DeMenno M. (2008) Beat the Odds: Social Emotional Skill Building Delivered in a Framework of Drumming. www.uclartsandhealing/org
Tortora S. (2005) The Dancing Dialogue: Using the Communicative Power of Movement with Young Children. Baltimore: Paul H. Brookes Publishing Co., Inc.


DISCOVERING DREAM WISDOM: AN EXPLORATION THROUGH ART & JOURNALING
Nancy Weiss, BCD, LCSW
1, 6

Objectives:
1. Describe 2 or more steps in the dream-tending process that differ from the traditional analytic, interpretive approach. 
2. Identify 3 or more expressive arts techniques that can deepen exploration of dreams or other unconscious material in counseling and psychotherapy sessions. 
3. List at least 4 methods for creating collages of dream images, energies, and emotions.
4. Describe 2 or more methods for “dreaming the dream on,” to extend potential for dream exploration.
5. Describe 2 or more ways of internalizing and integrating the wisdom of a dream.
6. Identify 2 or more steps in the dream-tending process, and list at least 1 way it can be used in clinical settings.

Aizenstadt, S. (2009). Dream Tending. 
Frost, S. ((2010). SoulCollage® Evolving.
Weiss, N. (2013) “SoulCollage® and Dream Work”; in The Neter Letter June 2010, Vol. 5, #6
(©SoulCollage® Inc).

ADDRESSING LONELINESS THROUGH DANCING WITH DEMENTIA: FACILITATOR CERTIFICATE TRAINING
Julia Vishnepolsky, MA, R-DMT
2, 4, 9

Objectives:
1. List 3 or more ways to use the creative arts as a tool to decrease social isolation among adolescents and older adults.
2. Identify 3 or more ways that intergenerational engagement with older adults is beneficial to the social emotional health of both students' volunteers and older adults.
3. Name 1 or more ways that the creative arts can be utilized as a platform for social change in relation to the view of older adults and aging.
4. Identify 3 or more ways to effectively communicate with the older adult population (with functioning and impaired cognitive abilities).
5. Identify at least 2 ways to establish safety in a group.
6. Name 3 or more improvisation tools that help navigate facilitation.

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. 

FRIDAY MORNING WORKSHOPS

PHOTOTHERAPY & THERAPEUTIC PHOTOGRAPHY: CREATIVE TECHNIQUES FOR ALL CLINICIANS
Sarah Kremer, ATR-BC, LPCC, PhD(c)
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.

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. 
Gibson, N. (2018). Therapeutic Photography: Enhancing Self-esteem, Self-efficacy and Resilience. Jessica Kingsley Publishers. 
Rose, G. (2014). On the relation between “visual research methods” and contemporary visual culture. The Sociological Review, 62(1), 24–46. 

Friday Evening Workshops

FRIDAY EVENING WORKSHOPS

HEART-CENTERED MOVEMENT FOR HEALING & TRANSFORMATION
Sophia Kozak, MA
3, 5

Objectives:
1. Describe the theory behind a healing movement practice called Dance from the Heart; explain the underlying concepts and therapeutic benefits; outline the 7-step process.
2. Apply the practice by embodying the 7 steps in a Dance from the Heart movement session.
3. Dialogue about how to use Dance from the Heart with various populations with participants.

Citations Forthcoming

TFCBT and the Expressive Arts: Integrating Approaches for Enhanced Treatment of Traumatized Clients
Nadia Paredes, LMFT, ATR
2, 4, 6

Objectives:
1. Identify 2 or more steps involved in using Trauma Focused Cognitive Behavioral Therapy.
2. List 1 or more steps required to translate TFCBT concepts into the Expressive Therapy practice.
3. Describe 3 different expressive arts interventions designed with the TFCBT approach in mind.

Sigel, B. A., Benton, A. H., Lynch, C. E., & Kramer, T. L. (2013). Characteristics of 17 statewide initiatives to disseminate trauma-focused cognitive-behavioral therapy (TF-CBT). Psychological Trauma: Theory, Research, Practice, and Policy, 5(4), 323–333
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
Wymer, B., Ohrt, J., Morey, D., Swisher, S. (2020). Integrating Expressive Arts Techniques Into Trauma-Focused Treatment With Children. Journal of Mental Health Counseling (2020) 42 (2): 124–139