Expressive Therapies Summit: Los Angeles 2020

2021 SATURDAY 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

SATURDAY MASTER CLASSES

BOOKS AND BOOKMAKING IN PSYCHOTHERAPY
Malissa Morrell, MA, ATR-BC, MFT
1, 4, 6

Objectives:
1. List 3 or more clinical considerations when incorporating bookmaking in client sessions.
2. List 3 or more logistical considerations when incorporating bookmaking in client sessions.
3. Describe 2 or more book structures and list therapeutic considerations for use with clients.
4. Identify the benefits of sequencing when making books in therapy with clients.
5. Learn the procedures for creating 2 or more book structures that can be used with clients in treatment.
6. Identify 5 common items and objects that can be incorporated into the book making process with clients when working in an office setting.

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.
Johnson, P. (1997). Pictures and words together: Children illustrating and writing their own books. Portsmouth, NH: Heinemann.
Chilton, G. (2007) Altered books in art therapy with adolescents. Art Therapy: Journal of the American Art Therapy Association, 24(2) 59-63.

DIR/FLOOR TIME, PLAY & MOVEMENT FOR AUTISM SPECTRUM DISORDER: INTEGRATING THEORIES & TREATMENT
Esther B. Hess, MS, R-DMT
Rachael Anne Singer, MS, R-DMT
 4, 5, 8

Objectives:
1. List 3 indicators of sensory processing and social-emotional challenges that interfere in the play of children/adolescents with autism spectrum disorder.
2. Identify the best practice DIR/Floor Time model of play techniques used to support 4 specific sensory processing challenges that interfere with optimum development in children and adolescents with ASD.
3. Name 6 play therapy techniques used to facilitate emotional regulation and expression in children/adolescents with autism spectrum disorder.
4.
5.
6.

Greenspan, S.I. (2010). Floor Time: What it Really is, And What it Isn’t. Retrieved from http://www.icdl.com/dirFloortime/newsletter/FloortimeWhatitReallyisandisnt.shtml.
Hess, E. (2016). DIR Floor Time: A Developmental/Relational Play Therapy Approach Towards the Treatment of Children with Developmental Delays, Including Autism Spectrum Disorder (ASD) and Sensory Processing Challenges. In: O’Conner, K.J., Schaefer, C.E. & Braverman, L.D. (eds.) Handbook of Play Therapy, 2nd Edition. New Jersey: John Wiley & Sons, Inc.
Sealy, J. & Glovinsky, I. (2016). Strengthening the reflective functioning capacities of parents who have a child with a neurodevelopmental disability through a brief relationship-focused Intervention, Infant Mental Health Journal, 37(2) 1-28.

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.
5.
6.

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).

EXISTENTIAL SAND THERAPY WITH ADULTS: DEPTH, AUTHENTICITY & DIFFERENCES
Dee Preston-Dillon, MA, PhD
1, 5, 6

Objectives:
1. Describe 2 features of symbol formation related to existential phenomena in therapeutic sand scenes.
2. Name 3 clinician competencies related to collaborative engagement when validating existential concerns in sand therapy.
3. Identify 2 aspects of culture relevant to existential representations and experience in sand therapy.
4. State 3 existential considerations when using sand and symbols in supervision and case consultation.
5. List 3 or more characteristics of a sand scene that reflect existential relevance to archetypal, mythological, and social justice when working in treatment.
6. Identify 3 typical clinician errors that can sabotage the effective use of existential sand therapy in treatment.

Chodorow, J. (Ed.) (1997). Encountering Jung: On active imagination. Princeton, NJ: Princeton University Press.
  May, R. (1975). The courage to create. New York, NY: Norton.
Schneider, K.J. & Krug, O.T. (2017). Existential-Humanistic Therapy (theories of psychotherapy series). Washington DC, APA.

FACILITATING DRUM CIRCLES: A MASTER CLASS FOR CLINICIANS & EDUCATORS
Helen Dolas, MS, MT-BC
John Fitzgerald
3, 6

Objectives:
1. Identify at least 1 major concept of drum circle facilitation that can provide structure for working with clients in group or individual treatment.
2. Describe 2 or more basic rhythm facilitation techniques that clients themselves can facilitate, to strengthen confidence, self-expression, positive risk-taking, and leadership skills.
3. Identify 2 or more ways to adapt facilitation techniques to different populations.
4. State 2 or more ways that drum circles can reduce stress.
5. Explain 2 or more ways that drum circles can be used to build empathy and community.
6. Describe 2 or more drum circle activities that can increase focus and attention.

Bittman, B.B., Berk, L.S., Felten, D.L., Westengard, J., Simonton, O.D., Pappas, J. & Ninehouser, M. (2001). "Composite Effects of Group Drumming Music Therapy on Modulation of Neuroendocrine-Immune Parameters in Normal Subjects," Journal of Alternative Therapy. Jan, 2001. p. 38-47.
Bittman, MD, Karl T. Bruhn, Christine Stevens, MSW, MT-BC, James Westengard, Paul O Umbach, MA. (2003) "Recreational Music-Making: A Cost-Effective Group Interdisciplinary Strategy for Reducing Burnout and Improving Mood States in Long- Term Care Workers," Advances in Mind-Body Medicine. Fall/Winter, 2003. p.4-15.
Bittman et al. (2004). "Recreational Music-Making: An Integrative Group Intervention for Reducing Burnout and Improving Mood States in First Year Associate Degree Nursing Students: Insights and Economic Impact." International Journal of Nursing Education and Scholarship. Vol. 1 Article 12.

ONE CANVAS PROCESS PAINTING: AN EXPLORATION OF THE TRAUMA CONTINUUM
Paige Asawa, PhD, MFT, ATR-BC
4, 5, 6

Objectives:
Forthcoming

THE BODYMAP PROCESS: A SOMATIC ART INTERVENTION FOR HEALING WHAT THE BODY HOLDS
Darcy Lubbers, PhD, MFT, ATR-BC
3, 4, 6

Objectives:
Forthcoming

4-DAY INTENSIVE- SATURDAY

RECOVERY COACH ACADEMY: 4 DAY INTENSIVE TRAINING FOR RECOVERY FROM ADDICTIONS
Lisa Grey Hope, ATR-BC, LADC, LCAT, MAC, CASAC, CRPA
1, 5, 8

Objectives:
18. List at least 4 pros and cons of self-disclosure in recovery coaching. 19. Name at least 3 Motivational Interviewing skills.
20. List the stages of the Change Model.
21. Define the stages of recovery from addiction.
22. Explain culture as it pertains to addiction and recovery.
23. Describe the role of cultural competence in recovery coaching.

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.

SATURDAY MORNING WORKSHOPS

AN EMBODIED APPROACH TO NONVERBAL COMMUNICATION TRAINING: THE DANCE OF INTERACTION
Donna Newman-Bluestein, BC-DMT, CMA, LMHC
1, 5

Objectives:
1. Name 3 types of images that define a therapist's role vis-a-vis communication/interaction in therapy.
2. Identify 2 or more characteristics that define the primary image of a therapist's role in treatment.
3. Define the term "visual imagination" as it pertains to the the topic of nonverbal communication in counseling and psychotherapy.

Coaten, R., & Newman-Bluestein, D. (2013). Embodiment and dementia–Dance movement psychotherapists respond. Dementia, 12(6), 677-681
Newman-Bluestein, D. & Chang, M.H. (2017). The dance of interaction: An embodied approach to nonverbal communication training for caregivers of people with dementia. Self-published in Dedham, MA: Dance for Connection.
Schoop, T., & Mitchell, P. (1974). Won’t you join the dance? Palo Alto, CA: National Press Books

THE ART OF GROUP FACILITATION: EFFECTIVE SKILLS FOR CREATIVE, PURPOSEFUL ENGAGEMENT
Kate Richards Geller, MA, MT-BC, LCAT
3, 5

Objectives:
(Forthcoming)

GROUP SANDTRAY THERAPY: MANAGING MINIATURES & METAPHORS WITH MULTIPLE CLIENTS OF ALL AGES
Marshall Lyles, LPC-S, LMFT-S, RPT-S
3, 5, 6

Objectives:
1. List 2 or more advanced play therapy skills essential to safe sandtray-based group work.
2. Name at least 1 modification to sandtray-based play therapy protocols required when working with groups that contain members of different ages/populations.
3. Describe the protocol for initiating group sandtray work in a family or group therapy setting.

Homeyer, L. E., & Sweeney, D. S. (2016). Sandtray therapy: A practical manual. Routledge.
McCormick, R. (2019). The impact of sandtray therapy on group climate and therapeutic factors in a residential substance abuse treatment facility (Doctoral dissertation, Regent University).
Sweeney, D. S., & Homeyer, L. E. (1999). The handbook of group play therapy: How to do it, how it works, whom it's best for. Jossey-Bass.

INTERCONNECTED DRAMA THERAPY: A DEVELOPMENTAL MODEL FOR HEALING TRAUMA AND MORE
Dimitra Stavrou, LPC, RDT
3, 4, 5

Objectives:
1. Describe 1 short-term therapeutic process for developmental reconnection in clients.
2. List 3 or more methods for enhancing clinical treatment through embodiment and metaphor.
3. Identify 3 or more aspects of embodied self-awareness and embodied intersubjective awareness.
4. Name the 5 elemental energetic impulses, and describe how to regulate them without losing agency and embodied self-awareness.
5. Identify the 3 C’s, and describe how to maintain embodied self-awareness when working in dyad and group contexts.
6. Define "compassionate group attention," and list 2 or more ways to help a client identify, invite, amplify, and create safety regarding suppressed emotions.

Adler, J. (2002). Offerings from the conscious body. Rochester, VT: Inner Traditions.
  Fogel, A. (2009). The psychophysiology of self-awareness: Rediscovering the lost art of body sense. New York: W. W. Norton
  Hilton, R. (2007). Relational somatic psychotherapy; Collected essays of Robert Hilton. Alachua, Florida: Bioenergetics Press.

LOVE, LETTERS & ART: FORGING AND REPAIRING HEALTHY ATTACHMENTS
Ericha Scott, ICAADC, ATR-BC, REAT
2, 4, 6

Objectives:
1. State 1 or more ways to use love letters in treatment to help forge a deeper connection with the self and/or with loved ones.
2. List 1 or more reasons that writing/sending a love letter in the midst of relational crisis would be contraindicated.
3. Describe 2 or more simple, but powerful, techniques for writing personal and intimate love letters to maintain or repair broken relationships.

Scott, E. H. (2018). Creative arts therapies: An integrative modality for addiction and trauma treatment. In S. Modir & G. Munoz (Eds.), Integrative Addiction and Recovery. London: Oxford University Press. (NOTE: An Andrew Weil, MD, library series book.)
Scott, E. H. & Ross, C. J. (2006b). Integrating the creative arts into trauma and addiction treatment: Eight essential processes. Journal of Chemical Dependency Treatment, 8:2, 207-226. Retrieved from https://www.tandfonline.com/doi/abs/10.1300/J034v08n02_11.
  Pennebaker, J.W. (1997). Writing about emotional experiences as a therapeutic process. Psychological Science, 8(3) 162- 166.

REACHING RESISTANT CLIENTS OF ALL AGES THROUGH ART: TECHNIQUES FOR SUCCESS
Erica K. M. Curtis, LMFT, ATR-BC
1, 5

Objectives:
1. Explain 3 counseling goals related to addressing factors contributing to client resistance in therapy.
2. List 3 arts-based interventions for meeting the goals related to softening resistance in therapy.
3. (Forthcoming)

 Linesch, D. ed. (1993). Art Therapy with Families in Crisis. Overcoming Resistance through Nonverbal Expression. New York: Brunner/Mazel.
Sweezy, M. (2011). The Teenager’s Confession: Regulating Shame in Internal Family Systems Therapy. The American Journal of Psychotherapy 65(2):179-88.
Siegel, D. (2010). Mindsight: The new science of personal transformation. New York: Bantam.

SCRIBBLE & WIGGLE: A NEUROSEQUENTIAL ART APPROACH TO TRAUMA ACROSS THE LIFESPAN
Peggy Kolodny, ATR-BC, LCPAT
1, 5, 6

Objectives:
1. Describe 3 neurodevelopmental theories including the Neurosequential Model as applied to trauma-focused art and play therapies.
2. Identify 6-8 stages of art development and list 4 ways that trauma impacts development.
3. Apply 4 trauma-informed art directives following the Neurosequential Model of therapy
4. List the 4 clinical skills needed in ethically and effectively using trauma-informed art interventions in art and play therapy.
5. State at least 3 reasons that joint art activities enhance reparative attachment for children with complex trauma in individual and group sessions.
6. List 3 benefits of bilateral drawing techniques for trauma treatment in counseling and psychotherapy with clients across the lifespan.

Perry, Bruce.(2006). Boy who was raised as a dog.Basic Books
  Gaskill, R., Perry, B. (2014). The Neurological power of play: using the neurosequential model of therapeuticst o guide play in the healing process. p.178-196. Malchiodi, C. (ed). Creative Arts and Play Therapy. Guilford Press.
Siegel, D, (2011).The whole brain child. NY: Delacorte Press.

SPOKEN WORD POETRY THERAPY FOR AT-RISK YOUTH & ADOLESCENTS
Elnur Gajiev, PsyD
1, 3, 8

Objectives:
Forthcoming

SUPERHEROES TO THE RESCUE: FIGHTING TRAUMA & ANXIETY IN CLIENTS OF ALL AGES
April Duncan, MSW, LCSW, RPT
1, 4, 5

Objectives:
1. Describe 4 theoretical constructs that encourage imaginative play in treatment.
2. Name 3 or more ways to integrate superhero themes into clinical sessions to address trauma and anxiety in clients across the lifespan.
3. List 5 therapeutic benefits of integrating superheroes into play therapy, counseling, and psychotherapy.

Rubin, L. (ed.) (2006) Using superheroes in counseling and play therapy. New York, NY: Springer Publishing Company
  Jones, G. and Ponton, L. (2003) Killing monsters: Why children need fantasy, super heroes, and make-believe violence. New York: Basic Books.
Brownie, B. and Graydon, D. (2015) The Superhero costume: Identity and disguise in fact and fiction. United Kingdom: Bloomsbury Academic.

TREATING PSYCHOSIS & MOOD DYSREGULATION USING CBT, DBT, AND ACTION METHODS
Dana George Trottier, MA, LCAT, RDT/BCT
Mary Kate Roohan, MA, LCAT, RDT
1, 4, 5

Objectives:
1. List 3 or more creative arts therapy interventions that can support clients in self-managing acute psychosis.
2. Identify 2 or more theoretical models that can facilitate clinical treatment of mood dysregulation.
3. Describe 1 or more examples of embodied empathy at work in clinical practice.
Bornmann, B. A. & Jagatic, G. (2018). Transforming group treatment in acute psychiatry: The CPA model. International Journal of Psychosocial Rehabilitation, 22(1), 29-45.
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
Linehan, M. M. (1993a). Cognitive-behavioral treatment of borderline personality disorder. New York, NY: Guilford Press.

TWELVE-STEP-INSPIRED ART THERAPY DIRECTIVES FOR GROUP & INDIVIDUAL RECOVERY
Anna Pirkl, MA, MFT, ATR, LAADAC
1, 3, 8

Objectives:
1. Describe 2 or more ways that incorporating art into counseling and psychotherapy creates safety and structure in treatment.
2. Apply 3 or more components of the 12 steps to art therapy directives.
3. State 1 or more ways that 12 step inspired practice can be incorporated into daily clinical work.

Lakes, K. and Hoyt, W. T. (2004) Promoting self-regulation through school- based martial arts training. Applied Developmental Psychology, 25, 283-302.
Jennings, G. (2017). Pursuing health through techniques of the body in martial arts. Journal of the International Coalition of YMCA Universities, 5(8), 54-72.
Croom, A.M. (2014). Embodying martial arts for mental health: Cultivating psychological well-being for martial arts practice. Archives of Budo Science of Martial Arts and Extreme Sports, 10:59-70.

SATURDAY LUNCH & LEARNS

ART THERAPY CREDENTIAL RECERTIFICATION: HOW & WHY CONTINUING EDUCATION CREDITS COUNT
Ruth Xilomen Rios, MFA, ATR-BC, LMFT

Objectives:
1. Name 3 types of approved activities that satisfy ATCB continuing education requirements.
2. Identify 2 ways to confirm that CECs are eligible for ATR-BC and ATCS recertification.
3. Describe how to access and use the MyATCB system to report continuing education activities.

Art Therapy Credentials Board. (2019). Art therapy certified supervisor (ATCS) 2019 Application Handbook. Retrieved from: www.atcb.org
Art Therapy Credentials Board. (2018). The ATCB Code of ethics, conduct, and disciplinary procedures. Retrieved from: www.atcb.org
Art Therapy Credentials Board. (2013). ATR-BC recertification standards. Retrieved from: www.atcb.org

SATURDAY AFTERNOON WORKSHOPS

CLIENT-FOCUSED ART ASSESSMENTS AND THE ETC: OBSERVATION, REPORT WRITING & TREATMENT PLANNING
Denise Malis, PhD, MFA, ATR-BC, LMHC
5, 6, 11

Objectives:
1. List at least 3 formal elements of art that enable an observer to better understand a client’s experience.
2. Identify 2 ways to apply the Expressive Therapies Continuum as a framework for assessing clients and their relationship to working with art materials.
3. Describe 2 or more components of a typical art-based assessment report that can can be used with a number of different populations in a variety of settings.

Hinz, L. (2009). Expressive therapies continuum: A framework for using art in therapy. New York, NY: Routledge.
 Betts, D., & Groth-Marnat, G. (2014). The intersection of art therapy and psychological assessment: Unified approaches to the use of drawings and artistic processes. In L. Handler & A. D. Thomas, Drawings in assessment and psychotherapy: Research and application (pp. 68-285). New York, NY: Routledge.
Tobin, B. (2001). What does the picture mean? Toward a theory of interpretation of client art. The Canadian Art Therapy Association Journal, 14(2), 3-14.

CREATIVE CONFLICT RESOLUTION: GAMES & EMBODIED MULTIMODAL APPROACHES FOR VARIED SETTINGS
Pam Dunne, PhD, RDT/BCT
1, 3, 5

Objectives:
(Forthcoming)

DIGITAL MEDIA ARTS: THERAPEUTIC INTERVENTIONS FOR ADOLESCENTS & OTHERS
Jeffrey Jamerson, MA, PhD
Jennifer Hoit, LMFT, ATR
1, 5, 9

Objectives:
1. Identify 3 creative arts techniques that can enhance engagement in children younger than 8 years old.
2. List any developmental stages that would not benefit from a creative therapies approach to grief work.
3. Name 2 or more creative modalities most effective in grief work with teens.

Fitzgerald, Lorraine. Healing Through Loss: The Stepping Stones. Home Health Care Management & Practice, April 2008.
Devine, Megan (2017). It’s OK That You’re Not OK: Meeting Grief and Loss in a Culture That Doesn’t Understand. Sounds True, Boulder, CO.
Buscaglia, Leo (1982). The Fall of Freddie the Leaf: A Story of Life for All Ages. Henry Holt and Company, New York.

EXPANDING THE CAPACITY FOR JOY: AWE, GRATITUDE, AND THE RESILIENT NERVOUS SYSTEM
Bonnie Harnden, MA, RDT
1, 2, 3

Objectives:
(Forthcoming)

HELPING CHILDREN TO SAY GOODBYE: PLAY THERAPY FOR GRIEF & LOSS
Lyla Tyler, MS, LMFT, RPT-S
1, 5

Objectives:
(Forthcoming)

IMAGINAL MINDFULNESS FOR SOUND CLINICAL PRACTICE
Michael Franklin, PhD, ATR-BC
4, 5, 6

Objectives:
1. Define and relate James Hillman’s definition of image to expressive work in treatment.
2. Name, define, and apply 2 or more of Hillman's imaginal techniques for working with images in clinical contexts.
3. List 2 or more essential connections among art, therapy, mindfulness, and imaginal psychology.

Abbenante, J. & Wix, L. (2016). Archetypal art therapy. In D. E. Gussak & M. L. Rosal Eds.), The Wiley handbook of art therapy. (pp. 37-46). West Sussex, UK: John Wiley & Sons.
Franklin M. A. (2016). Imaginal mindfulness-imaginal intelligence: Musings on the languages of shadow and light in art, meditation, and clinical practice. In F. J.
Marlan, S. (Ed.). (2012). Archetypal Psychologies: Reflections in honor of James Hillman. New Orleans, Louisiana: Spring Journal Books.

IMMIGRATION & EMPATHY: BUILDING COMMUNITY THROUGH CREATIVE WRITING AND MOVEMENT
Jennie Linthorst, MA, CAPF
Regina Klenjoski, BFA, BBS
3, 5, 8

Objectives:
1. Describe 2 ways to use movement to express memories and emotions in a therapeutic group setting.
2. List 1 or more ways to use writing and sharing to increase empathy among immigrant and non- immigrant populations.
3. State 2 benefits of using writing and movement to help refugee, immigrant, and displaced populations cope with loss and assimilation, and deepen connection to roots.

Mazza, N. (2018). No place for indifference: poetry therapy and empowerment in clinical, educational, and community practice. Journal of Poetry Therapy, 31, No.4, 203-208.
 Foster, V. (2012). What if? The use of poetry to promote social justice. Social Work Education, 31, 742-755.
Karkov, V., Aithal, S., & Meekus, B. (2019). Effectiveness of Dance Movement Therapy in the Treatment of Adults with Depression: A Systematic Review with Meta-Analyses. Frontiers in Psychology, 10, 936.

QUICK COLLAGES FOR CLIENTS OF ALL AGES: PIECING TOGETHER POSSIBILITIES
Josie Abbenante, ATR-BC, LPAT
4, 5, 6

Objectives:
(Forthcoming)

RAISING CONNECTED, HAPPY, SUCCESSFUL KIDS THROUGH ART
Erica Curtis, LMFT, ATR-BC
1, 2, 6

Objectives:
1. Articulate 3 research grounded reasons that the creative arts can be more effective than talk therapy when dealing with challenging behaviors in children.
2. Describe 2 arts-based approaches for handling challenging behavior with child or adolescent clients in treatment.
3. List 2 arts-based strategies for responding to a traumatic-stress reaction in a child or teen in treatment.

Anshel, A., and D. Kipper. 1988. “The Influence of Group Singing on Trust and Cooperation.” Journal of Music Therapy 25: 145–155.
  Hemmeter, M. L., Ostrosky, M. M., Artman, K. M., and K. A. Kinder. 2008. “Moving Right Along: Planning Transitions to Prevent Challenging Behavior.” Young Children 63(3): 18-25.
Van der Kolk, B. 2014. The Body Keeps the Score: Brain, Mind, and Body in the Healing of Trauma. New York: Penguin Books.

TALES FROM INSIDE: DRAMA THERAPY WITH JUSTICE SYSTEM IMPACTED POPULATIONS
Elizabeth Malone Alteet, MFA, RDT
1, 3, 8

Objectives:
1. Name 3 action-embodied methods for working with incarcerated populations, including present awareness techniques.
2. Identify the work of 2 or more prominent drama therapists and describe how their work informs present and future work related to incarcerated populations.
3. List 2 or more ways that expressive arts therapy with incarcerated populations could impact the future of criminal punishment in a positive, humane, and therapeutic manner.

Steven Hart, ed. (1983) The Arts in Prisons, A CASTA Publication. The Theatre in Prisons Project, Center for Advanced Study in Theatre Arts, the Graduate School and University Center of the City University of New York.
Hartnett, S., Novek, E., Wood, J. ed. (2013) Working for Justice: A Handbook of Prison Education and Activism. Illinois UP
Boal, A. (1979). Theatre of the Oppressed. Theatre Communications Group, NY

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