Expressive Therapies Summit: Los Angeles 2020

2021 FRIDAY LEARNING OBJECTIVES

Bending Trio

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

FRIDAY MASTER CLASSES

CONNECTING IFS & ART THERAPY THROUGH CREATIVITY, CLAY & COLLAGE
Peggy Kolodny, MA, ATR-BC, 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.

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. (1995). 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.

SHADOW PLAY: WORKING WITH DARKER METAPHORS IN PLAY THERAPY
Jen Lefebre, PsyD, RPT-S
4, 5, 9

Objectives:
1. Identify at least 2 play therapy themes based on Jungian theory and archetypes.
  2. Describe 3 symbols or metaphors typically observed in posttraumatic play therapy activity.
  3. State 2 or more play therapy techniques to move children through trauma symbolization and metaphors.
4. Discover how to decrease the physiological arousal common in posttraumatic play through at least 3 sensory-based play therapy strategies.
  5. Name 2 or more types of play therapy materials that can be used to process issues like enuresis, encopresis, hygiene challenges, self-harm, hyper-sexuality, suicidal/homicidal ideation, and other shadow themes.
  6. List 2 play therapy techniques designed to assist with expression of inner thoughts and feelings.

Moschini, Lisa (2018). Art, Play, and Narrative Therapy: Using Metaphor to Enrich Your Clinical Practice. Routledge
Homeyer, Linda & Sweeney, Daniel. (2016). Sandtray Therapy: A Practical Manuel. Routledge. 3rd Edition.
Green, Eric. (2014). The handbook of Jungian play therapy with children and adolescents. John Hopkins University Press

SOULCOLLAGE® IN CLINICAL SETTINGS: REFLECTING LIFE STORIES IN IMAGERY & JOURNALING
Cheri Epstein, MA, NCC, ATR-BC, LPAT
4, 6

Objectives:
1. List 2 or more clinical settings in which SoulCollage® could be used effectively with clients in working towards treatment goals.
2. Name 3 or more benefits of using SoulCollage® as a structured approach to artmaking in therapeutic settings.
3. Identify 3 or more ways in which SoulCollage® can be helpful in therapy for clients coping with loss or life transitions.
4. Describe 2 or more ways of combining SoulCollage® with other expressive art therapy approaches to foster therapeutic growth and healing.
5. State why it is important to create a “safe container” for making SoulCollage® cards in treatment, and 2 or more ways to accomplish that.
6. Describe how working with self-reflection by dialoguing with SoulCollage® cards can reveal the shadow aspects of the psyche.

Chilton, G. & Scotti. V. (2014). Snipping, gluing, writing: The properties of collage as an art-based research practice in art therapy. Journal of the American Art Therapy Association, 31(4), 163-171.
Finlay, L. (2015). Sensing and making sense: Embodying metaphor in relational-centered psychotherapy. The Humanistic Psychologist, 43, 338-353.
Wolfer, S. (2015). SoulCollage®: Cross-cultural applications for treating depression and other behavioral health challenges. In S. L. Brooke, C.E. Meyers, & E. Charles (Eds)., Therapist creating a cultural tapestry: Using the creative therapies across cultures (pp. 93-112). Springfield, IL: Charles C. Thomas

2-DAY INTENSIVES - FRIDAY

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

Objectives:
1. List 3 graphic elements from the graphic profile of research subjects diagnosed with schizophrenia that distinguishes them from research subjects with other diagnoses.
2. List 3 graphic elements from the graphic profile of research subjects diagnosed with depression that distinguishes them from research subjects with other diagnoses.
3. List 3 elements from the graphic profile of research subjects diagnosed as bipolar-manic phase hat distinguishes them from research subjects with other diagnoses.
4. List 3 elements from the graphic profile of research subjects diagnosed with borderline personality disorder that distinguishes them from research subjects with other diagnoses.
5. List 3 elements from the graphic profile of research subjects diagnosed with post traumatic stress disorder that distinguishes them from research subjects with other diagnoses.
6. List 3 elements from the graphic profile of research subjects diagnosed with dissociative identity disorder that distinguishes them from research subjects with other diagnoses.

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.
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.
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.

SOCIAL EMOTIONAL ARTS ON A SHOESTRING FOR INDIVIDUALS & GROUPS IN ANY SETTING
Kathy Cass, MA, BC-DMT, C-IAYT, C-AHC
3, 4, 6

Objectives:
1. State 1 effective way to establish rapport when offering an arts activity to someone for the first time.
2. Identify 1 way to facilitate engagement of reluctant participants for each of the two art forms taught today.
3. Describe how 1 activity learned on day two can be adapted to accommodate cognitive or physical limitations and group participation.
4. List 2 examples of how other art forms can be integrated into a specific activity learned on day two.
5. Identify at least 2 ways to talk non-judgmentally about art in order to encourage engagement and dialogue.
6. Describe at least 2 important guidelines in choosing music for a client's session.

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 modelling 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.

4-DAY INTENSIVES - FRIDAY

RECOVERY COACH ACADEMY: 4 DAY INTENSIVE TRAINING FOR RECOVERY FROM ADDICTIONS
Lisa Grey Hope, ATR-BC, LADC, LCAT, MAC, CASAC, CRPA
1, 6, 8

Objectives:
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.

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.

FRIDAY MORNING WORKSHOP

AN INTEGRATIVE ARTS TOOLKIT FOR HEALING & CREATIVE GROWTH
Patrisha Thomson, MA
5, 6

Objectives:
1.To benefit teenagers as well as adults, those who have been traumatized as well as those who seek to expand their creativity for personal growth. Interweave varied arts in this experiential workshop. Each process increasingly relaxes the socialized resistance and fears of self-expression. Writing informs our painting; our painting informs our movement; our dance informs our song. We “out-fox” the mind’s resistance and open our soul.
2. Identify what will provide a supportive atmosphere for all participants to witness their own creativity and generate generosity, kindness, and support if each other.
3. Practice methods of moving from one art form to another to provide consistency and respect for participants of all populations.

Rogers, Carl R. Client-centered Therapy: Its Current Practices, Implications, and Theory. New York: Houghton mifflin, 1951
Capacchione, Lucia. The Power of Your Other Hand: A Course in Channeling the Inner Wisdom of the Right Brain. North Hollywood, CA: Newcastle Publishing, 1988; Conari Press, 2001, 2019 The Creative Journal: The Art of Finding Yourself. Athens, OH: Swallow Press, 1979
Beckwith, Michael Bernard. Pulled By a Vision of Possibilities. Science of Mind Mag., May, 2018, Vol 91, No. 5: 12-16/

ATTACHMENT & THE INVISIBLE STRING: PLAYFUL ACTIVITIES TO SUPPORT HEALTHY CONNECTION FOR ALL AGES
Dana Wyss, PhD, LMFT, ATR
Pamela Robertson, PsyD, LCSW
2, 4, 5

Objectives:
1. Identify 4 or more signs of healthy attachment in children and adolescents to support proper treatment for play therapy and art therapy clients and their families.
2. Identify 4 or more signs of disrupted attachment in children and adolescents to support proper treatment including play and art therapy approaches.
3. List 4 or more play-based activities that can support creativity and connection for clients who have experienced a disruption in attachment.

Hodgdon, H. B., Kinniburgh, K., Gabowitz, D., Blaustein, M. E., & Spinazzola, J. (2013). Development and implementation of trauma-informed programming in youth residential treatment centers using the ARC framework. Journal of Family Violence, 28(7), 679-692.
Weinberg, M. K., Beeghly, M., Olson, K. L., & Tronick, E. (2008). A Still-face Paradigm for Young Children: 2¬Ω Year-olds' Reactions to Maternal Unavailability during the Still-face. The journal of developmental processes, 3(1), 4-22.
Southwell, J. (2016). Using ‚"Expressive Therapies‚" to Treat Developmental Trauma and Attachment Problems in Preschool-Aged Children. Children Australia, 41(2), 114-125. doi:10.1017/cha.2016.7

BEYOND DIFFICULT RELATIONSHIPS: HELPING WOMEN IDENTIFY SELF-WORTH & CREATE CONNECTION
Zelda Lockhart, MA, PhD
1, 8

Objectives:
1. Identify 1 or more arts-based tools for helping women of color explore current and past relationships through creative, narrative inquiry that encourages self-definition.
2. Describe how to facilitate witnessing through sharing stories and visual art with the goal of reinforcing community reciprocity within the black community environment as well as within other communities of color.
3. List 1 or more ways of integrating expressive arts techniques into traditional therapeutic methods when working with clients seeking to make healthy changes in existing relationships.

Amoah, J. (1997). Narrative: The road to Black feminist theory. Berkley journal of gender, law & justice, 12(1), 83-102. doi: 10.15779/Z38FP3B
 Collins, P. H. (2000). Black feminist thought: Knowledge, consciousness, and the politics of empowerment (2nd ed.). New York, NY: Routledge.
 Sanousi, H. A. (2004). The psychological role of expressive and literary writing: A case study on Kuwaiti women. Psyart, 8, 1-18.

CONSULTATION & COLLABORATION WITH PSYCHIATRISTS: MANAGING YOUR CLIENTS' VARIED NEEDS
Kristin Long, RDT, BCT, LCAT, LP
Scott Palyo, MD
Paul O'Keefe, DO
4, 5, 10

Objectives:
1. Apply 2 methods of collaborating with a psychiatrist within a family system.
2. Identify 3 reasons for obtaining a psychiatric referral/consultation.
3. Define the term "attunement" as it applies to clinical work, and give 3 related examples.
Levy-Warren, M. (2018). What Does It Mean to Think Developmentally in Doing Clinical Work. Journal of Infant, Child &
Adolescent Psychotherapy. 17(2):84-89.

Stern, D.N. (2007). A Felicitous Meeting of Attachment and Relational Psychotherapy. New Directions in Psychotherapy and Relational Psychoanalysis, 1:1-7.
 Fonagy, P. (2002). Affect regulation, mentalization, and the development of the self. New York: Other Press
 Paley, V. G. (2004). A child's work: The importance of fantasy play. Chicago: University of Chicago Press.

CREATIVE RITUALS FOR PROCESSING GRIEF & CELEBRATING LIFE
Summer Lall, MT-BC
Gabrielle Kaufman, MA, BC-DMT, NCC, LPCC
Jennie Linthorst, MA, CAPF
3, 7, 9

Objectives:
1. State 2 benefits of using music for processing grief in the context of treatment.
2. Describe 2 or more ways to use literature to inspire "writing from the soul" in treatment.
3. List 2 ways to use movement to access affect or memories during a group or individual counseling/therapy session.

Hynes, A. and Hynes-Berry, M. [1986] (1994) Biblio/Poetry Therapy: The Interactive Process. A Handbook. St. Cloud, MN: North Star Press.
 Chodorow, J. Dance Therapy and Depth Psychology. Routledge, 1991.
 Chavis, G. G. and Weisberger, L. L. (2003) The Healing Fountain: Poetry Therapy For Life’s Journey. St. Cloud, MN: North Star Press.

FEELING SEEN: INTEGRATING DANCE/MOVEMENT THERAPY TECHNIQUES INTO DYADIC TREATMENT
Eva Glaser, MA, BD-DMT, LPC
3, 4, 9

Objectives:
1. List 1 or more methods for facilitating dyadic movement in clinical practice with families.
2. Describe 2 or more aspects of movement-based play in trauma treatment.
3. Identify 3 or more components of Child-Parent Psychotherapy.

Lieberman, A.F. & Van Horn, P. (2008). Psychotherapy with infants and young children: Repairing the effects of stress and trauma on early attachment. New York: The Guilford Press.
 Tortora, S. (1994). Join my dance: The unique movement style of each infant and toddler can invite communication, expression and intervention. Zero to Three, 15(1), 3-13.
 Sossin, M. & Berklein, S.K. (2006). Nonverbal transmissions of stress between parent and young child: Considerations and psychotherapeutic implications of a study of affective movement patterns. Journal of Infant, Child, and Adolescent Psychotherapy, 5(1), 46-69.

LAUGH THE ANGER AWAY: PLAYFUL & CREATIVE STRATEGIES FOR ENGAGING MEN IN TREATMENT
Neal King, LCSW
1, 5, 7

Objectives:
1. List 3 specific societal characteristics related to traditional male roles that pose challenges to engaging men in counseling and therapy.
2. Name 3-5 playful, creative interventions that can help to engage men in therapy.
3. Identify at least 3 different clinical situations when it would be beneficial to use play and humor when working with men in treatment.

JUDGMENT-FREE CONVERSATIONS ABOUT WHITE PRIVILEGE & RACIAL INJUSTICE: IMPLICATIONS FOR THERAPISTS
Christine Evans, PhD, REAT
Chris Zydel, MA
1, 7, 8

Objectives:
1. Describe 3 or more ways that the creative connection® process and a person-centered philosophy can support emotional safety and resiliency when working with persons of color and privilege in treatment.
2. Define the concept of “white fragility” and list 2 or more negative impacts of this syndrome on clients of color in treatment with white therapists.
3. List 2 or more arts-based skills that therapists can use to help clients of privilege to have increased awareness of the stressors faced by persons of color.

Grzanka, P. R., Gonzalez, K. A. & Spanierman, L. B. (2019). White supremacy and counseling psychology: A critical-conceptual framework. The Counseling Psychologist, 47 (4), 478-529.Goodman, D.J. (2011). Promoting diversity and social justice: Educating people from privileged groups. New York, NY: Routledge Taylor & Francis Group.
Irving, Debby (2014). Waking up white, and finding myself in the story of race. Cambridge, MA: Elephant Room Press.

MINDFUL CLAY TECHNIQUES FOR COMPASSIONATE CLINICAL COUNSELING
Michael Franklin, PhD, ATR-BC
4, 5, 6

Objectives:
1. Name the 3 applied methods of imaginal mindfulness.
2. Clarify 2 or more differences between empathy and empathic clinical methods.
3. Describe 3 empathic skills for forming attuned resonant responses when working with challenging clients in treatment.

Bollas, C. (1987). The shadow of the object: Psychoanalysis of the unthought known. New York, NY: Columbia University Press.
 Franklin, M. (1999) "Becoming a student of oneself: Activating the witness in meditation and super-vision." American Journal of Art Therapy, 38(1), 2-13.
 Franklin, M.A. (2012). "Know thyself: Awakening self-referential awareness through art-based research." Journal of Applied Arts and Health: Special Issue on Art-Based Research: Opportunities & Challenges 3 (1), 87-96.

OPEN STUDIO FOR EMOTIONAL RENEWAL: SOCIAL EMOTIONAL CREATIVE SUPPORT FOR ALL AGES
Sarah Laing, MAAT, ATR
5, 6

Objectives:
1. Identify 1 method of the open studio process of intuitive artmaking and reflective writing through experiential learning.
2. Explain 4 directives for an art therapy method that promote a personal creative practice for ongoing self-care, promotes work/life balance, and can be used with clients.
3. Name 2 strategies for implementing a personal creative practice and how to adapt it to working with clients, particularly school-aged youth.

Allen, P. (1995). Art is a Way of Knowing. Shambhala.
 Malchiodi, C. (2006). Art Therapy Sourcebook. McGraw-Hill Education.
Ingenuity Inc. and UChicago Consortium on School Research (2019). Arts Education and Social-Emotional Outcomes Among K-12 Students: Developing A Theory of Action.

PHOTOTHERAPY & THERAPEUTIC PHOTOGRAPHY: CREATIVE TECHNIQUES FOR ALL CLINICIANS
Sarah Kremer, ATR-BC, LPCC, PhD(c)
1, 4, 6

Objectives:
1. List 3 photo-based techniques that can be integrated with traditional a variety of populations and settings in existing therapeutic practices.
2. Describe 3 different therapeutic applications incorporating photography in printed and digital forms that incorporate internal experiences and processes.
3. Identify at least 3 photo-based visual research methodologies that can be used to enhance understanding of healing work with clients and in the community.

Weiser, J. (1999). Phototherapy techniques: Exploring the secrets of personal snapshots and family albums. Vancouver, BC: PhotoTherapy Centre.
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.
Hogan, S. (2012). Ways in which photographic and other images are used in research: An introductory overview. International Journal of Art Therapy, 17(2), 54–62. http://doi.org/10.1080/17454832.2012.699533

THE HEALING POWER OF STONES: PLAY THERAPY INTERVENTIONS THAT ROCK
Tammi Van Hollander, LCSW, RPT-S
1, 4, 6

Objectives:
1. Describe 3 or more ways that using stones as props in play therapy can strengthen relationships, build empathy, and enhance resiliency to aid in the healing process.
2. Identify 3 or more play therapy and/or sand tray therapy interventions that integrate stones and can be used in clinical practice by generalist practitioners.
3. Identify 1 or more ways that working with stones as props in play therapy and counseling can promote clinician mindfulness and self-care practice.

Seymour, J. W. & Erdman, P. (1996). “Family play therapy using a resiliency model.” International Journal Of Play Therapy, 5(1), 19-30. doi:10.1037/h0089353
 Louv, Richard (2008). Last Child in the Woods: Saving Our Children From Nature-Deficit Disorder. Algonquin Books; Updated and Expanded edition.
 Courtney & R. D. Nolan (Eds.). Touch in Child Counseling and Play Therapy: An Ethical and Clinical Guide (pp. 48-62). New York, NY: Routledge.

THE STORIES WE TELL IN TREATMENT: HOW CULTURE & CREATIVE EXPRESSION ENHANCE BEST PRACTICES
Kathleen (Kay) Adams, LPC
Sandra Marinella, MA, MEd
1, 5, 7

Objectives:
1. State 3 significant findings from neuroscience that explain how writing our positive stories can lead to the creation of healthier, happier, and more resilient identities in individuals of all ages and backgrounds.
2. Identify 5 research-based outcomes that demonstrate how stories and personal writing can be used to support the healing process for those struggling with trauma, illness, or loss.
3. Describe 2 or more storytelling/writing activities that can be integrated into treatment plans for individuals and groups faced with trauma, illness, or loss.

Pennebaker, James, and Joshua Smyth. Opening Up by Writing It Down: How Expressive Writing Improves Health and Eases Emotional Pain. New York: Guilford, 2016.
Gazzaniga, Michael S. “Forty-Five Years of Split-Brain Research and Still Going Strong.” Nature Reviews Neuroscience, 6 (August 2005). www .nature.com/nrn/journal/v6/n8/full/nrn1740Tales from Both Sides of the Brain: A Life in Neuroscience. New York: HarperCollins, 2015.
White, Michael. Maps of Narrative Practice. New York: Norton, 2007.

VICTIMS, BULLIES & BYSTANDERS: A MULTIMODAL PLAY THERAPY APPROACH FOR ALL AGES
Leslie Baker, MFT, NCC, RPT-S
Mary Ruth Cross, MS, MFT, NCC, RPT-S
1, 3, 9

1. Describe at least 2 differences between youth and adult bullies as might be dealt with in a play therapy session.
2. List the 3 play therapy modalities that comprise multimodal play therapy intervention.
3. Identify and describe 3 stages of the neurosequential brain development model, and how it connects with multimodal play therapy intervention.

Berberian, M., Walker, M.S., & Kaimal, G. (2018). Master My Demons: art therapy montage paintings by active-duty military service members with traumatic brain injury and post-traumatic stress. Medical Humanities Published Online First: 04 August 2018. doi:10.1136/medhum-2018-011493
Gil, E. (2017) Post-Traumatic Play in Children What Clinicians Need to Know, Guilford Press, New York, NY
Sori, C. F., & Schnur, S. (2014). "Integrating a Neurosequential Approach in the Treatment of Traumatized Children: An Interview With Eliana Gil, Part II." The Family Journal, 22(2), 251–257. https://doi.org/10.1177/1066480713514945

FRIDAY LUNCH & LEARN

FACILITATING AWE & GRATITUDE PRACTICES FOR HEALING
Bonnie Harnden, MA, RDT

Objectives:
Forthcoming

FRIDAY AFTERNOON WORKSHOPS

BIO POEMS: SELF-WITNESSING THROUGH METAPHOR & MOVEMENT
Paula Perlman, LMFT, BC-DMT, CLMA
Diana Rivera, MA, CPC, PhD
4, 5

Objectives:
1. Describe at least 1 way that movement or improv can facilitate the free flow of writing, enhancing therapeutic efficacy.
2. Name 1 way that expressing a bio poem through movement can facilitate enhanced insight for its creator.
3. List at least 1 way that this process can be used in therapeutic settings with groups of various ages.

Choate, C. (2017). Developing somatic awareness in creative practice through writing and movement. Unpublished honors thesis, Appalachian State University, Boone, North Carolina. Retrieved from http://libres.uncg.edu/ir/asu/f/Choate,%20Colleen_December%202016_honorsthesis.pdf
Hackney, Peggy (1998). Making Connections: Total Body Integration Through Bartenieff Fundamentals. Amsterdam: Gordon and Breach Publishers.
Rytz, Thea (2009). Centered and Connected: A Therapeutic Approach to Mind-Body Awareness. Berkley, CA: North Atlantic Books.

BODY-BASED, SHAMANIC-INSPIRED PRACTICES FOR THERAPEUTIC INTERVENTIONS
Jennifer Farley, MA, LPCC, BC-DMT
3, 5

Objectives:
1. Define “universal precautions” in terms of trauma-informed work in treatment.
2. Explain 3 or more typical behavioral outcomes of trauma and traumatic experiences.
3. Identify 2 or more trauma-informed intervention techniques that can be used effectively with put-at-risk youth.

“THE ENACT METHOD OF EMPLOYING DRAMA THERAPY IN SCHOOLS” · In Current Approaches in Drama Therapy Second Edition (Ed. Johnson & Emunah, 2009) · co-written by Diana Feldman and Emilie Ward, LCAT, ENACT Director of Research & Training.
 Pearlman, L. A. & Courtois, C. A. (2005). Clinical applications of the attachment framework: Relational treatment of complex trauma. Journal of Traumatic Stress, 18, 449-459.
Sajnani et al. (2019). Collaborative discourse analysis on the use of drama therapy to treat trauma in schools. Drama Therapy Review, 5(1). doi: 10.1386/dtr.5.1.117_1

GIVING VOICE: TECHNOLOGY & SONG FOR AT-RISK AND SPECIAL NEEDS YOUTH
Rachael Anne Singer, MS, R-DMT
Ann Noriel
1, 6, 8

Objectives:
1. State 2 or more therapeutic benefits for clients who create a hope book of their own content.
2. List 3 objectives for working with hope-focused directives in clinical work with a wide range of populations.
3. Describe 2 simple book forms that can be created in many types of clinical settings, including those with limited materials or challenging safety restrictions.

Catalino, L. I., Algoe, S. B., & Fredrickson, B. L. (2014). Prioritizing positivity: An effective approach to pursuing happiness? Emotion, 14(6), 1155–1161. https://doi.org/10.1037/a0038029.
Bishop, E., & Willis, K. (2014). “Hope is that fiery feeling”: Using Poetry as Data to Explore the Meanings of Hope for Young People. Forum Qualitative Sozialforschung / Forum: Qualitative Social Research, 15(1), 1–15. Retrieved from http://www.qualitative-research.net/index.php/fqs/article/view/2013/3631
Randall, W., Baldwin, C., McKenzie-Mohr, S., McKim, E., & Furlong, D. (2015). Narrative and resilience: A comparative analysis of how older adults story their lives. Journal of Aging Studies. https://doi.org/10.1016/j.jaging.2015.02.010

HELPING LGBTQ YOUTH CREATE COHERENT SELF-NARRATIVES
Mark Beauregard, RDT-BCT, LCAT
Kristin Long, RDT-BCT, LCAT, LP
7, 8, 9

Objectives:
1. Name 3 ways LGBTQ youth face specific social and emotional obstacles, and how narratives that are often projected onto these youth by society can affect them.
2. List the difference between relational (complex, or little t) trauma and simple (big T) trauma, and state at least 2 ways traumas can impact the development and self-image of LGBTQ youth.
3. Identify 3 specific arts-based interventions that all clinicians can apply safely in their work settings to help youth create and tell self-narratives.

Klein, A., & Golub S. A. (2016). "Family rejection as a predictor of suicide attempts and substance misuse among transgender and gender nonconforming adults." LGBT Health, 3, 193–199.
Green, J.A. (2003). "Growing up Hidden: Notes on Understanding Male Homosexuality." Am. J. Psychoanal., 63:177-191.
Human Rights Campaign (2013), Growing Up LGBT in America: HRC Youth Survey Report Key Findings, Washington, DC: Human Rights Campaign.

IN HER VOICE: EMPOWERING WOMEN WITH VOCAL PRESENCE
Celia Bockoff, MSW, LCSW, SEP
3, 5, 8

Objectives:
1. Describe 3 or more ways that gender discrimination, boundary violations, and/or traumatic experiences specific to women impact the nervous system and vocal expression.
2. List 4 or more practices for developing vocal presence in women, enhancing increased core strength and a deeper sense of self.
3. Identify 3 or more ways to integrate vocal practices into clinical settings, supporting therapeutic effectiveness in working with women with a wide range of treatment issues.

Levine, Peter. (2010). In an Unspoken Voice: How the Body Releases Trauma and Restores Goodness. Berkeley: North Atlantic.
Van Der Kolk, Bessel. (2014) The Body Keeps the Score: Brain, Mind, and Body in the Healing of Trauma. New York: Viking.
Goodchild, Chloe, (2015) The Naked Voice: Transform Your Life through the Power of Sound. Berkeley: North Atlantic Books.

MAKING TERMINATION MEANINGFUL: THE NEUROBIOLOGICAL IMPACT OF IMAGERY, METAPHOR & EXPRESSION
Mary Affee, LCSW, CTS, RPT-S, CFSW, CHC
1, 4, 5

Objectives:
1. Name 3 or more factors that typically affect termination in both clients and therapists in short and long term clinical work.
2. Identify 3 ways that neurobiology and physiology interact with and benefit from symbol identification and figurative language in treatment.
3. List 2 or more ways that integrating figurative language, neurobiological factors, and metaphors can improve therapeutic efficacy moving towards termination.

Badenoch, B. (2011). The brain-savvy therapists workbook. New York: W.W. Norton.
Cozolino, L. J. (2010). The neuroscience of psychotherapy: healing the social brain. New York: W.W. Norton & Co.
Cozolino, L. J. (2014). The neuroscience of human relationships: attachment and the developing social brain. New York: W.W. Norton & Company.

MOBILE SANDPLAY FOR DISASTER RELIEF: THE LIVING MYTHOLOGY OF THE HAWAIIAN GODDESS, PELE
Lorraine Freedle, PhD, ABPdN, CST-T
1, 5, 6

Objectives:
1. Describe 2 or more primary differences between mobile sandplay in relief work and traditional applications of Jungian/Kalffian sandplay therapy.
2. Identify 3 strategies for setting up “a free and protected space” for sandplay in an emergency field setting.
3. List 4 research findings that support the use of sandplay in disaster relief, including results from relief efforts during the 2018 volcanic eruption.
4. Describe 2 ways that myth and culture can facilitate community resilience following a traumatic event.
5. Identify 3 self-care strategies that could be part of a personal action plan for a potential natural disaster in any community.

Freedle, L.R. (2017). Healing trauma through sandplay therapy: A neuropsychological perspective. In B. Turner (Ed.), The Routledge international handbook of sandplay therapy (pp. 190-206). New York: Routledge.
Kalsched, D. and Freedle, L. (2019). Trauma, innocence, and the Self-Care System: Implications for sandplay therapy. Journal of Sandplay Therapy, 28 (1), 7-32.
Roesler, C. (2019). Sandplay Therapy: An overview of theory, applications, and evidence base. The Arts and Psychotherapy, 64, 84-94.
Zoja, E. P. (2011). Sandplay Therapy in Vulnerable Communities: A Jungian Approach. New York: Routledge.

MODELING & DOODLING: SIMPLE TECHNIQUES FOR ACCESSING THE UNCONSCIOUS & ENHANCING RELATIONSHIPS
Ruth Guttfreund, MA, RATH
4, 6

Objectives:
1. Name 1 or more ways that doodling can be used to focus, connect, and improvise with the external world as well as the unconscious.
2. List 1 or more strategies using miniature sculptural plasteline technique combined with yarn and other materials to work on relationship dynamics.
3. Describe 2 or more ways in which miniature plasteline technique can help clinicians work through conflicting dynamics in therapy when their work reaches an impasse.

Haley, J. (1987). Problem-Solving Therapy. Communication as Bits and Metaphor, chapter 3, pages 89-106. Second Edition. Jossey-Bass Publishers, San Fransisco.
Winnicott, D. W. (1971). Playing and Reality. Chapters 4-5, pages 62-84. Penguin Books, Great Bitain.
Ferrucci, P. (1982). What We May Be The Visions and Techniques of Psychosynthesis. Chapter13, pages 143-153. Turnstone Press Limited. Wellingborough, Northamptonshire.

NATURE AND SPIRITUALITY IN TREATMENT WITH KIDS & FAMILIES TO PROMOTE INTERCULTURAL RESILIENCY
Joanne Ginter, MA
4, 6, 8

Objectives:
1. Identify 2 or more components involved in the development of intercultural resiliency with children, youth and families.
2. Identify the 3 building blocks of resiliency and ways the resiliency process can be created through nature and cultural practices.
3. List 2-3 activities that foster diversity and pluralism in practice with children, youth, and their families.

Chang, Jeff (Ed.) (2013). Creative Interventions with Children: A Transtheoretical Approach. Calgary, AB: Family Psychology Press
Smith-Adcock, Sondra and Tucker, Catherine (Ed.) (2017). Counseling Children and Adolescents. Thousand Oaks, CA: Sage Publications, Inc.
Walsh, Froma (1998). Strengthening Family Resilience. NY: Guilford.

PLAY THERAPY ESSENTIALS FOR CHILD THERAPISTS & EDUCATORS: PROVEN TECHNIQUES FOR SUCCESS
April Duncan, MSW, LCSW, RPT
1, 4, 9

Objectives:
1. Identify at least 6 of Virginia Axline's basic principles of play therapy.
2. Discuss 2 or more ways to support Schafer's 20 Therapeutic Powers of Play.
3. Name 3 key items to have available in a play therapy or clinician's office to promote social, emotional, and cognitive development in children and adolescents.

Axline, V. M. (1969). Play therapy. New York: Ballantine Books
Gill, E. & Drewes, A. (2005). Cultural Issues in Play Therapy
Gallo-Lopez, L. & Schaefer, C. (2005). Play Therapy with Adolescents. Plymouth, United Kingdom: Rowan & Littlefield Publishers, Inc.

PONGO POETRY PROJECT: WRITTEN & SPOKEN WORD TO HEAL TRAUMA IN VULNERABLE POPULATIONS
Elnur Gajiev, PsyD
Richard Gold, MA
1, 3, 8

Objectives:
1. Describe 1 or more ways that the Pongo poetry method is an effective process for addressing and healing trauma in adolescents and adults, in particular individuals in jails, shelters, etc., who may have never received treatment previously.
2. State 2 or more features of Pongo's trauma-informed poetry methodology that can used immediately by the workshop participants in their own professional practices.
3. List 2 or more Pongo trauma-informed techniques for facilitating healing poetry, where these techniques are particularly appropriate for clients who have suffered untreated childhood traumas such as abuse and exposure to violence.

Gold, Richard V. 2014. Writing with At-Risk Youth: The Pongo Teen Writing Method. Baltimore: Rowman & Littlefield Education. Answer: Gold, R., and Jordan, E. (2018). Grief, poetry, and the sweet unexpected, Death Studies, 42:1, 16-25.
Rynearson, Edward K., Jennifer Favell, Vicki Belluomini, Richard Gold, and Holly Prigerson. 2006. “Restorative Retelling with Incarcerated Juveniles.” In Violent Death: Resilience and Intervention beyond the Crisis, edited by Edward K. Rynearson, pp. 275-91. New York: Routledge.

TEACHING EMPATHY THROUGH ART THERAPY
Amy Pfenning, MPS, ATR, CZT
1, 5, 9

Objectives:
1. List at least 1 way to measure empathy.
2. Identify 2 aspects of empathy as they pertain to interpersonal relationships.
3. Describe 2 or more art therapy directives to help clients practice or improve empathy.

Adams, M.J. (2003). Victim issues key to effective sex offender treatment. Sexual Addiction and Compulsivity, 10(1). Retrieved March 5, 2008, from http://www.trowbridgefoundation.org/docs/victim_issues_sex_offender_ treatment.htm
Davis, M.H. (1980). A multidimensional approach to individual differences in Empathy. JSAS Catalog of Selected Documents in Psychology, 10, 85.
Fernandez, Y. (2002). In their shoes. Oklahoma City: Wood ‘N’ Barnes Publishing & Distribution.

THE PERSONAL HOPE BOOK: A CONTAINER OF RESILIENCE FOR TEENS & ADULTS
Erin Partridge, PhD, ATR-BC
4, 6

Objectives:
1. State 2 or more therapeutic benefits for clients who create a Hope Book of their own content.
2. Identify 3 objectives for working with hope-focused directives in clinical work with a wide range of populations.
3. Describe 2 simple book forms that can be created in many types of clinical settings, including those with limited materials or safety restrictions.

Catalino, L. I., Algoe, S. B., & Fredrickson, B. L. (2014). Prioritizing positivity: An effective approach to pursuing happiness? Emotion, 14(6), 1155‚Äì1161. https://doi.org/10.1037/a0038029
Bishop, E., & Willis, K. (2014). ‚ "Hope is that fiery feeling": Using Poetry as Data to Explore the Meanings of Hope for Young People. Forum Qualitative Sozialforschung / Forum: Qualitative Social Research, 15(1), 1‚ 15. Retrieved from http://www.qualitative-research.net/index.php/fqs/article/view/2013/3631
Randall, W., Baldwin, C., Mckenzie-mohr, S., Mckim, E., & Furlong, D. (2015). Narrative and resilience: A comparative analysis of how older adults story their lives. Journal of Aging Studies. https://doi.org/10.1016/j.jaging.2015.02.010

WORKING WITH MASKS IN THERAPEUTIC ENVIRONMENTS: IDENTITIES & INTERSECTIONALITY
Kamran Afary, PhD-RDT
Pam Dunne, PhD, RDT/BCT
3, 4, 6

Objectives:
1. Identify 3 or more ways narrative and narradrama techniques can uncover and make available preferred roles that are more aligned with clientsí clinical issues and needs.
2. Describe 1 exercise in clinical encounters with clients based on the theory of intersectionality that helps clients overcome the erasure of their preferred identities.
3. List 3 or more techniques --using masks, play, or preferred environments-- that are helpful for clients in nurturing preferred roles and identities to help them meet their goals in treatment, at home, or at work.

American Psychological Association (2017). Multicultural Guidelines: An Ecological Approach to Context, Identity, and Intersectionality.
Retrieved from: http://www.apa.org/about/policy/multicultural-guidelines.pdf Klees, S. (2016). A Hero’s Journey in a German psychiatric hospital: A case study on the use of role method in individual drama therapy. Drama Therapy Review, 2(1), 99-110. doi:10.1386/dtr.2.1.99_1
Dunne, P. (2009). Narradrama: A Narrative Approach to Drama Therapy. (Second edition) In D. R. Johnson & R. Emunah (Eds.), Current Approaches in Drama Therapy. Springfield, IL: Charles C. Thomas.

FRIDAY EVENING WORKSHOPS

HEART-CENTERED MOVEMENT FOR HEALING & TRANSFORMATION
SOPHIA KOZAK, MA
3, 5

Objectives:
Forthcoming

THE PHENOMENOLOGICAL USE OF TAROT & VISUAL IMAGERY IN EXPRESSIVE ARTS TREATMENT SESSIONS
Suzan Lemont, MA, REACE
4, 5, 6

Objectives:
1. State the rationale behind using storytelling and ritual in trauma circles: the anthropological basis, how stories function and the ways to use them for potential integration and healing.
2. Identify 4 current theories about violence and trauma and how they relate to expressive arts practices (van der Kolk, Porges, Levine, Wolfelt).
3. Identify and apply at least 3 different ways of structuring a storytelling circle.

THE STORIES WE TELL IN TREATMENT: HOW CULTURE & CREATIVE EXPRESSION ENHANCE BEST PRACTICES
Asia Moore, MSW
Julyssa Guevara, ACSW
1, 3, 8

Objectives:
Forthcoming

Already Registered?