No description available.

Bildterapeutiskt arbete kan vara ett sätt att stärka psykisk hälsa. Lite är dock skrivet om upplevelsen att använda sig av bildskapande i självhjälpsgrupper. Föreliggande studie avsåg att undersöka detta. Respondenter var fem deltagare samt projektansvarig bildterapeut med erfarenheter från självhjälpsgrupper innehållande fritt bildskapande och samtal. Intervjuer genomfördes och analyserades genom tematisk analys. Tre teman framkom (Personlig utveckling, Bildskapandet samt Sammanhang) innehållande tolv kategorier (Agentskap/empowerment, Att utmana sig själv, Ökad livskvalité, Lust, Kravlöshet/prestigelöshet, Bildens symboliska värde, Nya verktyg, Bearbetning/insikter, Flow, Gemenskap med andra, Kulturen i vården och samhället samt Lokalens betydelse). Resultatet indikerar att deltagarna upplevt ökad hälsa, större agentskap och gemenskap där bildskapandet varit en viktig del. Ytterligare forskning behövs dock för att styrka sambandet mellan bildskapande och ökat välmående. / Working with art therapy can be a way to enhance psychic health. However little is written about the experience of using art therapy in self-help groups. The present study intended to explore that. Respondents were five participants and the project leading art therapist with experiences from self-help groups containing free imaging and talk. Interviews were made and analysed through thematic analyses. Three themes emerged (Personal development, Imaging and Context), containing twelve categories (Agency/empowerment, Challenging yourself, Increased quality of life, Desire, Permissiveness/ unpretentiousness, Symbolic value of image, New tooles, Processing/ insights, Flow, Community with others, Culture in care and society and Importance of premises). The result indicates that the participants experienced an increase in health, self-efficacy and fellowship. Additional research is however needed to confirm possible connections between art therapy and increased health.

The purpose of this research was to inquire into the subjective experience of participants of psychodynamic group art therapy.This investigation was designed to record participants' responses and understanding of their art-making and their artwork in therapy. The qualitative methodology of phenomenography was chosen to record the art-making process. The sample included three women from a women's centre and six university students. A single interview was conducted with each of the nine participants and included their artwork from the group art therapy. Group art therapy committed to a participant's personal development was effective in contributing to a resolution of personal conflicts, whereas group art therapy committed to professional development was effective in stimulating group dynamics, but the participants were guarded when discussing the personal content of their artwork. / Master of Arts (Hons) (Art Therapy)

Thesis (M.A. Ed.)--Georgia State University, 2008. / Title from file title page. Melody Milbrandt, committee chair; Melanie Davenport, Juane Heflin, committee members. Electronic text (103 p.) : digital, PDF file. Description based on contents viewed Sept. 23, 2008. Includes bibliographical references (p. 67-71).

Thesis ( MEdPsych)--University of Stellenbosch, 2007. / Bibliography. Also available via the Internet.

Thesis (Ed. D.)--Teachers College, Columbia University. / Typescript; issued also on microfilm. Sponsor: Justin Schorr. Dissertation Committee: William Mahoney. Bibliography: leaves 85-88.

Orientador(a): Geralda Mendes Ferreira Silva Dalglish (Lalada) / Banca: Patrícia Pinna Bernardo / Banca: Jean-Jacques Armand Vidal / Banca: Sonia Carbonell Alvares / Banca: Kleber José da Silva / Resumo: Esta dissertação de mestrado visa buscar a compreensão de como a produção plástica, através de oficinas de cerâmica com recorte focado na Arteterapia, e projetos sociais inseridos em comunidades podem contribuir com o resgate de crianças e adolescentes em situação de vulnerabilidade social. Foi criado um projeto denominado Ser Âmica: A Modelagem de Um Novo Amanhã, localizado no Instituto Movere de Ações Comunitárias em Artur Alvim, zona leste da capital paulista, onde montou-se um ateliê para atender ao público alvo desta pesquisa, com idade entre sete e dezoito anos. Após realização de trezentas oficinas, num período de três anos não consecutivos, foram encontrados elementos que permitissem a reflexão sobre o potencial de oficinas culturais e seus desdobramentos para compreender o processo individual de cada aluno na formação de cidadãos mais conscientes da realidade em que vivem, possibilitando, desta maneira, o vislumbre de um futuro melhor através das contribuições que o diálogo com a arte e a cerâmica pode representar ao seu desenvolvimento pessoal e social. Em nenhum momento houve pretensão da pesquisadora de tornar os jovens atendidos em ceramistas profissionais. Buscou-se, antes, possibilitar aos atendidos um reencontro de si no resgate da autoestima e do autoconhecimento. A proposta de realizar um projeto de foco social com toda a estrutura de um ateliê de cerâmica profissional foi possível em virtude do fomento oferecido por meio das leis de incentivos fiscais, que também serão abordadas nesta pesquisa / Abstract: This dissertation MFA thesis seeks to understand how plastic production, through a part of ceramic workshops which focuses only on art therapy, and social projects inserted in communities can contribute to the rescue of children and adolescents in social vulnerability situations. A project was created named Ser Âmica - A Modeling of a New Tomorrow - located at the Instituto Movere de Ações Comunitárias in Artur Alvim, east zone in São Paulo, where a workshop was set up to attend the target audience of this research, aged 7-18 years old. three hundred - 300 workshops were held in a period of 3 (three) non-consecutive years to find elements that allowed a reflection on the potential and consequences of cultural workshops in order to understand the individual process of each student in the construction of a citizen more aware of the reality that he lives in and how he can envisage a better future through the contributions that the dialogue, with art and ceramics, can represent in his personal and social development. At no moment, did the researcher have an intention to turn the young people into professional ceramists, but to enable them to recover their self-esteem and self-knowledge. The proposal to carry out a socially focused project with the entire structure of a professional ceramic workshop was possible due to the development of the tax incentive laws that will also be addressed in this research / Resumen: Esta disertación de maeztrago pretende buscar la comprensión de la producción plástica a través de talleres de cerámica con recorte enfocado en la Arteterapia y de cómo los proyectos sociales implantados en comunidades pueden contribuir en el rescate de niños y adolescentes en situación de vulnerabilidad social. Se creó un proyecto llamado Ser Âmica: El Modelado de Un Nuevo Mañana situado en el Instituto Movere de Ações Comunitárias en Artur Alvim (zona leste de la capital paulista), donde se montó un taller para atender al público que era el objetivo de esta investigación y cuyas edades comprendían desde los siete a los dieciocho años. Se abrieron trescientos talleres en un período de tres años no consecutivos para que se encontraran elementos que permitieran la reflexión sobre el potencial de talleres culturales y sus despliegues para comprender el proceso individual de cada alumno en la construcción de ciudadanos más conscientes de la realidad en la que viven y de maneras de vislumbrar un futuro mejor a través de contribuciones que el diálogo con el arte y la cerámica puede representar en su desarrollo personal y social. En ningún momento hubo la pretensión de convertir a los jóvenes en profesionales ceramistas, sino la de darles una oportunidad de encontrarse consigo mismos en un acto de rescate de su autoestima y del autoconocimiento. La propuesta de realizar un proyecto con un objetivo social con toda la estructura de un taller de cerámica profesional se hizo posible gracias al fomento de las leyes de incentivos fiscales que también serán abordadas en esta investigación / Mestre

This exploratory study investigated the expansion of an established systematized group dreamwork method (Shuttleworth-Jordan, 1995) to incorporate artwork. The rationale for the addition of artwork was situated firstly, in a poetic Jungian understanding of the image as a holistic "place" of gnosis or transformative healing and, secondly, in an argument that in order to carry the gnostic potential of the image into the lived world, a dreamwork method should involve all four styles of consciousness (thinking, intuition, sensation and feeling). It was considered that the verbal interpretive Shuttleworth-Jordan method would be enhanced by the incorporation of a visual artwork process in order more fully to open the potential of the method for incorporating the nonverbal intuitive, sensation and feeling styles of consciousness. In order to compare the established method (dreamwork Without Art) and the proposed method (dreamwork With Art), two dreamwork workshops were conducted in which all participants experienced all four conditions of the study: Dream Presenter Without Art, Dream Presenter With Art, Group Member Without Art, Group Member With Art. Two levels of assessment were utilized: a quantitative analysis (involving rating scales completed after each dreamwork session), supported by a qualitative analysis (involving written questionnaires completed at the end of the workshops and follow-up interviews conducted a week after completion of the workshops). The results suggested that the incorporation of artwork in the Shuttleworth-Jordan (1995) group dreamwork method enhanced the established method in that a consistent trend of increased involvement in the dreamwork process and increased dreamwork effectiveness was reflected, while no deleterious effects were noted which might detract from the effectiveness of the existing model which had been established in previous research studies. Finally, a refined step-by-step group dreamwork method incorporating artwork was proposed, which included qualitative feedback from the present study.

Intimate partner violence is a prevalent problem throughout the world and is associated with significant physical as well as psychological impairment for women. Few studies are available to fully illuminate which interventions are most beneficial in healing and empowering women after their experience of violence in an intimate relationship. Although many traditional as well as creative approaches (Cognitive Behaviour Therapy, Person-Centred Therapy or Creative Arts Therapies) are used in practice, much of the work with survivors is not grounded in empirical research. In the present study the effects of Art Therapy in comparison with Person-Centred Therapy and routine intervention without additional therapy have been measured by quantitative as well as qualitative means. Measures of self-efficacy, self-esteem, depression, symptoms of PTSD and general psychological well-being were administered to a sample of survivors of intimate partner violence at baseline, end-oftreatment and follow-up. Therapy experience has been the focus of one-on-one interviews with participants. In general, all intervention groups improved on most outcome measures at follow-up. Participation in either of both therapeutic interventions in addition to routine care, however, contributed to improvements in difficulties related to phobic anxiety and impaired self-reference. Art Therapy was particularly effective in improving general psychological wellbeing and in particular self-efficacy, self-esteem, depression, somatic problems and several debilitating symptoms of PTSD.

It was hypothesized that art therapy with the elderly would increase the quality of an informal life review and motivate them toward greater psychological well-being (life satisfaction). To test this hypothesis, 30 subjects between the ages of 61 and 83 were assigned to three experimental conditions: Art Therapy Group, Discussion Group, and Control Group.