Expressive Therapies (Virtual) Summit: Los Angeles 2021

SUNDAY MASTER CLASSES

Altered Books for Building Personal Narratives & Managing Difficult Symptoms
Mindy Jacobson-Levy, MCAT, ATR-BC, LPC, HLM PAATA,

4, 6

Objectives:
1. State 2 reasons that foundation building in an altered book is critical to resilience, and complete 2 art methods that foster resilience.
2. List and explain a minimum of 2 foundation building methods.
3. Identify 3 three stages of creating an altered book and two ways that this may be used in individual and in community treatment.
4. Describe and implement 2 art processes that foster self-expression in a contained and psychologically safe way.
5. Identify 10 psychological and behavior effects that may occur individually/collectively during catastrophic times.
6. State 2 circumstances under which altered book making might be considered inappropriate for use in clinical treatment.

Chilton, G. (2007). Altered Books in Art Therapy with Adolescents. Art Therapy: Journal of the American Art Therapy Association, 24(2) pp. 59-63.
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. doi:10.1080/08975351003618601.
Onarheim, B., & Friis-Olivarius, M. (2013). Applying the neuroscience of creativity to creativity training. Frontiers in Human Neuroscience, 7, 1-10. doi:10.3389/fnhum.2013.00656

SUNDAY MORNING WORKSHOPS

Authentic Movement & the Analytic Encounter: Window into the Unconscious
Jamie Yasgur, MS, BC-DMT, LCAT
1, 5

Objectives:
1. Describe the roles of witness and mover in the context of analytic authentic movement.
2. Identify at least 4 analytic principles that can be explored through authentic movement.
3. List 2 or more authentic movement applications that can be incorporated into clinical practice by a non-specialist.

Pallaro, P. (2007). Authentic Movement: Moving the Body, Moving the Self, Being Moved; A Collection of Essays, Volume Two. Philadelphia: Jessica Kingsley Publishers.
Whitehouse, M. (1999). Reflections on a metamorphosis. In P. Pallaro (Ed.), Authentic movement: A collection of essays (pp.59-62). New York: Brunner-Routledge.
Freud, S. (1900). The Interpretation of Dreams. The Standard Edition of the Complete Psychological Works of Sigmund Freud, Volume IV (1900): The Interpretation of Dreams (First Part), ix-627

ARTFUL GRIEVING: A CREATIVE MULTI-MODAL APPROACH TO GRIEF WORK WITH CHILDREN & TEENS
Patricia Jauchler, MS, MA, RDT/BCT
4, 5, 8

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

Devine, Megan (2017). It’s OK That You’re Not OK: Mending Grief and Loss in a Culture That Doesn’t Understand. Sounds True, Boulder CO.
Karst, Patrice (2019). The Invisible String Workbook: Creative Activities to Comfort, Calm, and Connect. Little, Brown, & Company, New York.
Rowland, Joanna (2017). The Memory Box: A Book About Grief. Sparkhouse Family, Minneapolis.

GUIDED IMAGERY IN TREATMENT: A DYNAMIC APPROACH
David Gordon, PhD
4, 5

Objectives:
1. List 2 or more ways that dynamic guided imagery differ from directive/prescriptive guided imagery.
2. Name 2 or more ways that guided imagery and other expressive arts modalities differ from most practiced “talking therapies.”
3. Describe how guided imagery can work effectively for clinician generalists within the framework of attachment theory.

Gordon, D.S. and Cohen, C.C. (2017), The Glass Enclosure: Psychodynamic Exploration through Guided Imagery. Zeig, Tucker & Theisen, Phoenix.
Rossi, Ernest (1993). The Psychobiology of Mind-Body Healing: New Concepts of Therapeutic Hypnosis. W.W. Norton and Company, New York.
Zeig, Jeffrey (Editor) (1982) Ericksonian Approaches to Hypnosis and Psychotherapy. Brunner/Mazel, New York.

REACHING UNCOMMUNICATIVE, RESISTANT & NONVERBAL CLIENTS THROUGH MUSIC THERAPY STRATEGIES
Dan Walsh, MS, MT-BC
1, 4, 5

Objectives:
1. Identify 3 ways to establish a therapeutic alliance with a resistant client using music therapy strategies.
2. Name 3 ways to help resistant clients to empathize with music that they are not familiar with or openly adverse to.
3. List 2 or more benefits of using music therapy strategies in working with resistant clients as opposed to more traditional "talk" techniques.

Aigen, K. (2005). Music centered music therapy. Gilsum, NH: Barcelona Publishers.
Nordoff, P., & Robbins, C., (2007). Creative music therapy: A guide to fostering clinical musicianship. Gilsum, NH: Barcelona Publishers.
Bruscia, K. E. (1987). Improvisational models of music therapy. Springfield, IL: Charles C. Thomas Publishers.

More than Miniatures in the Sand: An Advanced Clinical Consultation
Eliana Gil, PhD, ATR, RPT-S, LMFT
Dee Preston-Dillon, MA, PhD
1, 4, 6

Objectives:
1. Identify 3 theoretical perspectives that can assist play therapists to understand and respond to sand scenes.
2. Explain 3 aspects of culture that play therapists can identify in client sand scenes.
3. List 3 competencies that can enhance the play therapist's comprehension of symbol meaning.
4. List 2 ways the play therapists can integrate play and sand therapy approaches.

Berman, P. (2019). Case conceptualization and treatment planning: integrating theory with clinical practice. Sage.
Ridley, C. R., Jeffrey, C. E., & Roberson, R. B. (2017). Case Mis-Conceptualization in Psychological Treatment: An Enduring Clinical Problem.
Journal of Clinical Psychology, 73(4), 359–375. https://doi.org/10.1002/jclp.22354
Timulak, L., & Pascual-Leone, A. (2014). New Developments for Case Conceptualization

Polyvagal Theory & Physiological State Memory in Arts-Based Trauma Therapy: Tools and Interventions
Melissa Susman, MA, LMFT, SEP, ATR
4, 5, 6

Objectives:
1. Describe 2 or more unique features of the mammalian autonomic nervous system (ANS), in contrast to those of the more primitive ANS. according to the Polyvagal Theory.
2. Identify 3 client presentation features associated with the mammalian ANS, 3 features associated with more primitive physiological states, as well as associated behaviors.
3. Describe 2 or more ways that Polyvagal Theory can be applied to the development, selection, and implementation of expressive arts therapy modalities in the treatment of traumatized clients.

Dana, D (2018). The Polyvagal Theory in therapy: Engaging the rhythm of regulation. WW Norton.
Porges, SW & Dana, D (2018). Clinical applications of the Polyvagal Theory: The emergence of Polyvagal-informed therapies. WW Norton.
Porges, SW (2011). The Polyvagal Theory: Neurophysiological foundations of emotions, attachment, communication, and self-regulation. WW Norton.

SUNDAY AFTERNOON WORKSHOPS

Song Tapestry: Weaving Music & Lyrics with the Unconscious Mind
Stacie Yeldell, MA, MT-BC, AVPT
1, 3, 4

Objectives:
1. Name at least 1 evidenced-based music therapy method that can be used to facilitate a community therapy group for clients of all ages.
2. List 4 song tapestry themes that can be used to connect to the unconscious within a group setting with clients of all ages.
3. Identify 2 or more ways to use song as a clinical tool to process emotions, assess a client's mental state, as well as to build cohesiveness within a group.

Colman, Arthur D. And Geller, Marvin H. Group Relations Reader 2. Springfield: A.K. Rice Series, 1985. Print.
Diaz De Chumaceiro, Cora L. (1998). 'consciously Induced Song Recall: Transference-countertransference Implication', In Bruscia, Kenneth E. (Ed) The Dynamics Of Music Psychotherapy. Gilsum: Barcelona Publishers, Pp. 365-385.
Mcguire, Michael G. Psychiatric Music Therapy In The Community: The Legacy Of Florence Tyson. Gilsum: Barcelona Publishers, 2004. Print.

EMPOWERMENT THROUGH METAPHORS: WRITING TOWARD RESILIENCE DURING CHALLENGING TIMES
Tresha Haefner, MA
1, 4, 5

Objectives:
1. Identify 3 or more ways to use metaphor,and poetic writing with clients to help them reconnect to a sense of agency and resilience when faced with a situation that seems out of their control.
2. Describe 1 or more ways to help clients generate a metaphor for their feelings regarding their own sense of agency or lack thereof in the face of a situation they view as dangerous, or out of their control.
3. State 1 or more ways to change a metaphor of helplessness into a metaphor of empowerment and agency in regard to a situation perceived as dangerous or out of their control.

Citations forthcoming

Making Messy Art: The Power of Paint and Collage for All Ages, Abilities & Settings
Anna Reyner, MA
1, 6, 9

Objectives:
1. Identify 5 or more messy art experiences suitable for both individual and group settings with clients of all ages and abilities.
2. List 3 or more sensory art materials that can be effectively used in messy art making tasks in clinical and other settings.
3. Describe 2 or more findings from recent research on brain development that indicate why sensory art activities are effective in helping to access suppressed memories in traumatized people.

Hinz, Lisa (2010). "Expressive Therapies Continuum: A Framework for Using Art in Therapy." Journal of Creativity in Mental Health, 5: 221-225, 2010
Lusebrink, Vija (2012) "The Expressive Therapies Continuum." International Journal of Art Therapy, Volume 18, 2013 - Issue 2, Pages 75-85.
Gardner, Howard (1984) Art Mind & Brain, A Cognitive Approach to Art Therapy, Basic Books.

Strength-Based Child Psychotherapy Strategies for Play Therapists and Others
Steven Baron, PsyD, NCSP
1, 4

Objectives:
1. State at least 3 benefits of using the Strengths-Based model with children and adolescents in play therapy.
2. Identity at least 3 methods that play therapists can use to help their young clients identify personal strengths.
3. Describe at least 3 Strength-Based techniques that can be integrated with play therapy to enable young clients to express positive emotions.
4. List at least 3 Strengths-Based strategies that can be used with play therapy to promote the benefits of an optimistic mindset, thereby facilitating wellbeing.

Ullenhag A, Granlund M, Almqvist L, Krumlinde-Sundholm L. A Strength-Based Intervention to Increase Participation in Leisure Activities in Children with Neuropsychiatric Disabilities: A Pilot Study. Occup Ther Int. 2020;2020:1358707. Published 2020 Apr 2. doi:10.1155/2020/1358707
Khan, Abul & Francis, Abraham. (2015). Strengths Based Practice with Children with a Mental Health Condition. International Journal of Social Work and Human Services Practice. 3. 9-19. 10.13189/ijrh.2015.030102.
Kwok, S. Y. C. L., Gu, M., & Kit, K. T. K. (2016). Positive Psychology Intervention to Alleviate Child Depression and Increase Life Satisfaction: A Randomized Clinical Trial. Research on Social Work Practice, 26(4), 350–361.

Liberating Joy from Loss Through Prescriptive Memory-Making and Dyadic Creativity
Nancy Gershman, LMSW
4, 6

Objectives:
1. List the 3 major mechanisms of this brain-based approach that allow a prescriptive memory to bind to old memory.
2. State 1 or more reasons why it is beneficial for the prescriptive memory to “violate the expected” so it can open the bereaved individual to a therapeutic, corrective experience.
3. List (3) identifiers for suitability and (3) contraindications for dreamscaping.
4. Name 3 arts intervention skills to help a client transform the prescriptive memory into an image-based tangible object and subsequently practice or share with others.

Hass-Cohen, N. & Findlay, J. C. (2015). Art Therapy and the neuroscience of relationships, creativity, and resiliency: Skills and practices. New York: W.W. Norton & Company.
Jordan, J. R. (2012). Guided imaginal conversations with the deceased. Techniques of grief therapy: Creative practices for counseling the bereaved, 262-265.
Mishkinsky, M. (1977). Humour as a "courage mechanism." Israel Annals of Psychiatry & Related Disciplines,15(4), 352-363.