2021 FRIDAY, APRIL 30LEARNING OBJECTIVES
CONTINUING EDUCATION CATEGORIES
1. Counseling Theory/Practice and the Counseling Relationship2. Wellness and Prevention3. Group Dynamics and Counseling4. Clinical Interventions and Evidence-based Practice5. Psychological and Psychotherapeutic Theories and Practice6. Media and Materials in Treatment7. Social and Cultural Foundations8. Client Populations and Multicultural Competence9. Human Growth and Development10. Cross-disciplinary Offerings from Behavioral and Social Sciences11. Assessment
FRIDAY MASTER CLASSES SoulCollage® as a Pathway Towards Illumination & Balance for Professionals Mindy Jacobson-Levy, MCAT, ATR-BC, LPC, HLM DVATA 4, 6Objectives:1. Identify 2 differences between the SoulCollage® process and generic collage making in art therapy.2. Name the 4 suits of SoulCollage®, and describe the relevance of each to the deepening process, both personally and in clinical treatment.3. Create 2 SoulCollage® cards from three primary suits (Committee, Community, Council) and identify one major difference between the Companion suit and the other primary suits.4. List two benefits of creating SoulCollage® cards in community, and the relevance of journaling in this process.5. List 3 positive outcomes from incorporating the SoulCollage® process in art therapy treatment.6. List 2 benefits that the SoulCollage® facilitator training provides counselors and therapists when incorporating this modality in their clinical work. Frost, S. B. (2010). Soulcollage evolving: An intuitive collage process for self-discovery and community. Santa Cruz, CA, CA: Hanford Mead. Epp, S. H. (2016). Art Based Inquiry: Exploring Metaphors and Felt Sensations Through the Process of SoulCollage® (Unpublished master's thesis). Concordia University. Raffaelli , T. & Hartzell, E. (2016) A Comparison of Adults' Responses to Collage Versus Drawing in an Initial Art-Making Session, Art Therapy, 33:1, 21-26,DOI: 10.1080/07421656.2016.1127115 El Duende Process Painting: Single Canvas Exploration for Reflection & Feedback Abbe Miller, PhD, ATR-BC, LPC 1, 5, 6 Objectives: 1. Identify the 5 phases in the EDPP model for supervision, personal reflection, and clinical work. 2. Name 1 prompt for each polarity [3] of the ETC continuum (perceptual/affective; cognitive/symbolic; kinesthetic/sensory). 3. Describe 3 re-working techniques that enhance the change processes of the EDPP one-canvas approach. 4. List at least 2 change processes that occur during EDPP art making. 5. Identify 1 or more feedback loops that are used during EDPP work. 6. Describe how images get covered over vs stay in connection during creative intuition/impulse decision-making. Garcia-Reyna, N. I. (2019). Art-based supervision, through the creation of artistic response Assessment of its use in an art therapy training]. Arteterapia, 14. 201-220. https://www.doi.org/10.5209/arte.65097 Hinz,L. (2020). Expressive Therapies Continuum. Routledge Miles, L., & Mullins, K. (2019). El Duende side by side: Experiential process painting forsupervisor and supervisee [Paper Presentation]. 50th Annual Conference of the American Art Therapy Association, Kansas City, MO, United States. FRIDAY MORNING WORKSHOPS 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. 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. Giving a Voice to Trauma Through Vocal Psychotherapy Diane Austin, ACMT, LCAT Jenny Hoi Yan Fu, MA, LCAT, MT-BC Allison Reynolds, LCSW-R, LCAT, MT-BC 4, 5Objectives: 1. Identify 3 theoretical concepts, which form the foundations of the Vocal Psychotherapy model. 2. List 3 important benefits of connecting the mind and the body through experiential exercises. 3. Name 3 biological reactions to trauma. Austin, D. (2008). The theory and practice of vocal psychotherapy: Songs of the self. London: Jessica Kingsley Publishers Van der kolk, B. (2014). The body keeps the score. New York, NY: Penguin Books. Levine, P. (2010). In an unspoken voice: How the body releases trauma and restores goodness. Berkeley, CA: North Atlantic Books. Sandtray with Internal Family Systems: Establishing Safety Through Metaphor (Part 1) Lauren Spaulding, LMFT, LPC 1, 5, 6Objectives: 1. Name the basic components of IFS Therapy model. 2. Describe how the 6 steps of the sandtray protocol complement the IFS model. 3. Identify 3 or more parts in a Sandtray world created by a client. Homeyer, L. & Sweeney, D. (2017). Sandtray therapy: A practical manual. Royal Oak, MI: Self Esteem Shop. Schwartz, R. & Sweezy, M. (2019). Internal family systems therapy, second edition. New York, NY: Guilford Press. Van der kolk, B. (2015). The body keeps the score: Mind, brain and body in the transformation of trauma. London: Penguin Books. Therapeutic Photography: Faces of Shame in SelfiesDeborah Cluff, PhD 5, 6, 7, 9Objectives: 1. Describe shame as a psychobiological phenomenon. 2. Identify how and when shame gets activated. 3. List at least 1 technique to change the internal representation of shame by using therapeutic photography. Cluff, D. (2017). Shame and the Making of Art: A Depth Psychological Perspective (Research in Analytical Psychology and Jungian Studies) (1st ed.). Routledge. Gibson, N. (2018). Therapeutic Photography: Enhancing Self-Esteem, Self-Efficacy and Resilience. Jessica Kingsley Publishers. Porges, S. W. (2011). The Polyvagal Theory: Neurophysiological Foundations of Emotions, Attachment, Communication, and Self-regulation (Norton Series on Interpersonal Neurobiology) (Illustrated ed.). W. W. Norton & Company. FRIDAY AFTERNOON WORKSHOPSVICTIMS, 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 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/2013/3631Randall, 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 Authentic Movement for Facilitating Joy, Awareness & Healing Berti Klein, MA, MCAT, MSS, NCC, BC-DMT 1, 3, 4 Objectives: 1. Define 1 more more differences between the practice of Authentic Movement that distinguishes it from creative/expressive movement or dance. 2. Name 1 or more ways that “cell-level” memory can both aid or impact clients in their treatment progress. 3. List 1 or more ways that Authentic Movement can be integrated into therapeutic practice with adolescents and adults by non-specialist mental health professionals. 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 & PhiladelphiaOffering 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. Addressing Implicit Bias in Clinical Work with Communities of Color April D. Duncan, MSW, LCSW, RPT-S 1, 7, 8 Objectives: 1. Identify 4 factors contributing to racial bias in mental healthcare. 2. Describe documented biases between White and Black clients in mental healthcare. 3. Name 2 ways implicit biases can lead to negative outcomes in clients of color. English, D., Lambert, S., Tynes, B., Bowleg, L., Zea, M., & Howard, L. (2020). Daily multidimensional racial discrimination among Black U.S. American adolescents. Journal of Applied Developmental Psychology, 66, 101068–. https://doi.org/10.1016/j.appdev.2019.101068 Chae, P. (2017). The role of racial identity and implicit racial bias in self-reported racial discrimination: Implications for depression dmong African American den. Journal of Black Psychology, 43(8), 789–812. https://doi.org/10.1177/0095798417690055 Merino, Y., Adams, L. & Hall, W.J. (2018, March 1). Implicit bias and mental health professionals: Priorities and direction for research. Psychiatric Services, 69(6), 723-725. https://ps.psychiatryonline.org/doi/10.1176/appi.ps.201700294 Sandtray with Internal Family Systems: Establishing Safety Through Metaphor (Part 2) Lauren Spaulding, LMFT, LPC 1, 5, 6Objectives: 1. List 1 IFS prompt for each of the 6 steps of the Sandtray Therapy protocol. 2. Name 2 or more ways to integrate Sandtray and IFS techniques in order to promote unblending parts from Self. 3. Describe the goals of note taking and the importance of treatment planning when incorporating these models into counseling and psychotherapy. Homeyer, L. & Sweeney, D. (2017). Sandtray therapy: A practical manual. Royal Oak, MI: Self Esteem Shop. Schwartz, R. & Sweezy, M. (2019). Internal family systems therapy, second edition. New York, NY: Guilford Press. Van der kolk, B. (2015). The body keeps the score: Mind, brain and body in the transformation of trauma. London: Penguin Books.
FRIDAY EVENING WORKSHOPS Engaging Adolescents with Emotional/Behavioral Disorders: Overcoming Resistance to Artmaking Susan D. Loesl, MA, WATRL, ATR-BC 4, 6, 8 Objectives: 1. Identify 3 art media/tools that can engage adolescents with emotional/behavioral disorders in artmaking. 2. Describe 3 adapted art techniques that participants can incorporate into their clinical work with adolescents with emotional/behavioral disorders. 3. Identify 3 behaviors of adolescents with emotional/behavioral disorders that could impact the therapeutic art experience.Harpazi S, Regev D, Snir S and Raubach-Kaspy R (2020) Perceptions of Art Therapy in Adolescent Clients Treated Within the School System. Front. Psychol. 11:518304. doi: 10.3389/fpsyg.2020.518304. Linesch, D. (2015).Art Therapy with Adolescents. In Gussak, D. & Rosal, M. The Wiley Handbook of Art Therapy, John Wiley & Sons. Moon, C.(2011). Materials & Media in Art Therapy. Abingdon. Oxon, Routledge. Art Therapy for Wellbeing: Promoting Preventive Mental Health Practices for Mothers & Others Nadia Paredes, LMFT, ATR 2, 8Objectives: 1. List 3 reasons for developing preventive mental health practices to improve the public’s mental hygiene. 2. Clarify 2 or more benefits of educating clients about process-based art techniques and how they can be used as a mindfulness practice. 3. Name 3 different activities that can be performed in online sessions as preventive art therapy tools. Sigel, B. A., Benton, A. H., Lynch, C. E., & Coholic, D. (2011) Exploring the Feasibility and Benefits of Arts-Based Mindfulness-Based Practices with Young People in Need: Aiming to Improve Aspects of Self-Awareness and Resilience. Child Youth Care Forum, 40, 303-317 American Psychological Association. (2014). Guidelines for Prevention in Psychology. American Psychologist, 69(3), 285–296 Venegas, M., Gonzalez, M. & Cantú, R. (2016) Regulación del estrés y emociones con actividades gráficas y narrativa expresiva. Revista de Psicología, Vol. 34 (2), 293-312 The Power of Guided Imagery to Heal: A Dynamic ApproachDavid Gordon, PhD 2, 5, 10Objectives: 1. List 2 or more objectives for using directed guided imagery in the healing process with adult clients. 2. Describe 1 or more ways that attachment theory relates to the process of using dynamic imagery techniques in treatment with adult clients. 3. Name at least 2 dynamic guided imagery processes that can be used to disrupt maladaptive neurological patterns and replace them with healthier ones. Gordon, David & Costas-Cohen, Cynthia, (2016). The Glass Enclosure: Psychodynamic Exploration Through Guided Imagery, Zeig, Tucker & Theisen, Inc., Phoenix, Arizona. Zellinka, Vladimir, Cojan, Yann & Desseilles Martin, “Hypnosis, Attachment and Oxycotin: An Integrative Perspective, International Journal of Clinical and Experimental Hypnosis, 62(1): 29-49, 2014. Zeltzer, Lonnie & Zeltzer, Paul, (2016). Pain in Children and Young Adults: The Journey back to Normal, Shilysca Press, Encino, California.