Made available in DSpace on 2014-06-11T19:29:35Z (GMT). No. of bitstreams: 0 Previous issue date: 2009-05-27Bitstream added on 2014-06-13T20:38:55Z : No. of bitstreams: 1 vasques_mcpcf_me_botfm.pdf: 1978243 bytes, checksum: 8c653fcb31759f4a3b06a80459bf535a (MD5) / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / O presente estudo, com abordagem qualitativa, insere-se no contexto das investigações científicas sobre a Arteterapia e suas aplicações no cenário da Saúde Mental, através de revisão histórico-bibliográfica e entrevista com profissional da área de arte-reabilitação, utilizando a técnica da história oral, com vistas a aprofundar o conhecimento sobre Arteterapia e seu campo de atuação. Foi possível constatar que, dentro de uma abordagem sistêmica, existem várias possibilidades de atuação da Arteterapia na prevenção, recuperação e tratamento da Saúde Mental, contribuindo para uma melhoria na qualidade de vida. / This is a scientific qualitative study approaching Art-Therapy theories and practices, focusing on possible applications in the field of Mental Health assistance. It contains two parts, the first one a Review of the history and literature on the subject, and the second one is an interview with one professional who has developed an extensive practice of Art-Therapy in Brazil. The interview is interpreted by means of an Analysis of Discourse using the techniques of Oral History. The objective of the study is to gather knowledge about Art-Therapy and its applications in the prevention, recovery and therapy in Mental Health, in a systemic approach framework.

Orientador: Geralda M. F. Silva Dalglish / Banca: Lilian Amaral / Banca: Luiza Christov / Resumo: A dissertação descreve a articulação e o processo criativo de experiências em arte terapia fundamentadas pelo método transdisciplinar de abordagem do conhecimento, dialogando com a arte à luz do conceito de hibridismo (Valente, 2008), com a epistemologia da complexidade (Morin, 1998) e com a psicologia arquetípica (Hillman, 2010). Apresenta o histórico da Arte Terapia no Brasil com o intuito de refletir e discutir sobre a promoção da Inclusão Social ou acessibilidade através de experiências artísticas colaborativas. Tem como base o Projeto Piloto do coletivo de artistas - arte terapeutas ACATE - Atelier Compartilhado de Artes e Terapias Expressivas, idealizador da parceria que se estabeleceu entre alunos de especialização em Arte Terapia / Terapias Expressivas do IA - Instituto de Artes UNESP Universidade Estadual Paulista com graduandos em Artes e docentes da referida Universidade para a implantação do Projeto de Extensão Universitária ArtInclusiva no campus do IA da UNESP, de março de 2011 até março de 2013, além de outras experiências da autora em arte terapia com foco no trabalho com grupos.Visa também promover problematizações e pesquisas por meio da questão central: A arte terapia pode ter objetivos artísticos?O presente trabalho justifica-se pelos excelentes resultados alcançados na facilitação do acesso à arte, à educação, à promoção do desenvolvimento humano e pelas transformações psíquicas em todos os envolvidos. A proposta revelou-se um importante espaço de formação de profissionais e pesquisas contemporâneas, promovendo competências nos colaboradores e na comunidade; uma oferta única e diferenciada por meio da equipe de trabalho e da estrutura que o IA-UNESP disponibiliza e que pelos seus importantes resultados alcançados merece ser documentada para ilustrar ou servir como referência de uma iniciativa transdisciplinar para a produção de um pr / Abstract: This dissertation describes the articulation and the creative process of experiences in art therapy based on transdisciplinary method of knowledge approach, making connections with art in the light of the concept of hybridity (Valente, 2008), with the epistemology of complexity (Morin, 1998) and with the archetypal psychology (Hillman, 2010). The research presents the history of Art Therapy in Brazil to reflect and discuss about the promotion of Social Inclusion through the art (collaborative experiences). The basis of this work comes from the art group ACATE - Atelier Compartilhado de Artes e Terapias Expressivas, which has been born from a partnership between the students of specialization program in Art Therapy/ Expressive Therapies of UNESP - Universidade Estadual Paulista with art students and professors of the same university to create the University Extension Project ArtInclusiva from 2011 March to 2013 March, besides other experiences of the author with art therapy focusing in group works. It also intends to promote reflections and searches through a central question: Can art therapy have art goals? This work is totally justified considering the excellent results in terms of making easily the access to art issues, art education, the promotion of human development and also the psychological changes in all the people involved with the project. The proposal proved to be an important space to train professionals, promoting skills in the people involved with the project; and unique and different proposal with work group and all the facilities available at IA - UNESP. For all this reasons, it deserves to be documented to show or guide transdisciplinary initiatives to create artistic hybrid process or procedure. / Mestre

D.Ed. / Art lecturers affiliated to a tertiary institute observed the occurrence of negative emotional content and expression in the artwork of their students. These students are also inclined to manifest negative behavioural and interaction patterns. The lecturers appealed for this research as a method to determine what the content of the expressed artwork indicate. The request was for the research methods to proceed within an art framework in order for it to be applied as a class project. The research proceeded with the use of art as a projection medium, applied during the process of facilitative interaction. The aim was to determine the degree to which the projected content in the young adults' artwork correlate with their personal life- and experiential world. The young adults were requested to write spontaneous sketches depicting the story of their life. The information was passed on to a graphologist for the analysis of their handwriting. The findings of the graphologist was later applied as external triangulation in order to verify the identified themes obtained from the analysis. With the aid of art as projection medium during facilitative interaction, it has been determined that the young adults struggle with unresolved trauma as a result of abuse. The exposure to abuse resulted in barriers influencing their relationships with others as well as themselves. The barriers manifest as experiences of pain and confusion; mistrust and isolation; aggression and depression. The research resulted in the development of a model for educational psychologists equipping them to identify and address unresolved trauma with young adults through the use of art as projection medium during facilitative interaction. The development of the model proceeded in four stages. During stage one concepts were identified, defined and classified after completion of the fieldwork. The sample included 30 respondents from different cultures ranging from ages 18 to 24. The collection of data proceeded with the use of art as projection medium involving the following - a Gestalt-therapeutic exercise: the drawing of a rosebush, in-depth interviews, the analysis of cartoons and the writing of spontaneous sketches on unlineated paper for graphological analysis. The model of Guba was used to ensure trustworthiness in qualitative methodology. This refers to the credibility, transferability, reliability and verification of the research. In step two the relationship between concepts was drawn, after which step three followed, involving the description of the model. Guidelines in operationalising the model, are stated in step four. The model aims at the empowerment of young adults suffering from unresolved childhood trauma, with the use of art as projection medium during facilitative interaction. During this process the young adults are guided to an enhanced self-awareness in order for self-insight and self-empowerment to develop so that mental health can be obtained. The power of the model lies in the continuous plotting taking place through the use of art as projection medium during facilitative interaction.

Please read the abstract in the section 00front of this document / Dissertation (MEd)--University of Pretoria, 2009. / Orthopaedic Surgery / unrestricted

“The Perfect Body” is a dominant narrative in western culture which we are exposed to on a daily basis in the media and advertising. Individuals who have been physically traumatised may find difficulty in reclaiming their bodies after a traumatic experience, leading to a narrative of “Disownment” of their bodies. Due to the high incidence of traumatic incidents in South Africa, the accompanying load on the trauma therapy field, and new findings into the ineffectiveness of many current therapeutic methods, new methods for working with Trauma are being sought. Re-telling of traumatic experiences has led to re-traumatisation and aggravated symptoms of Post Traumatic Stress Disorder. Body psychotherapy methods have tried to address the physiological nature of the symptoms and the implicit memory of trauma by grounding the therapy process in embodied techniques. Body Mapping is a new technique that falls both within the narrative therapy and art therapy approaches. Documented application of Body Mapping with traumatised individuals is not available. This study focuses on the experiences of Body Mapping of two men who were incarcerated and tortured for their political activities during Apartheid. The research was done from a Narrative perspective which privileges the individual story as subject of research. No attempt was made to find a representative population or a sample that could be generalised. The research question is “how do physically traumatised individuals make sense of physical trauma through their experience of Body Mapping?” Unstructured interviews were conducted after the Body Mapping group and were transcribed. Narratives about their experience and the cultural and historical factors that may have played a role in the construction of these narratives, were identified. Participant one narrated his experience of Body Mapping as a time and place of Togetherness, Stock-taking and Freedom of expression. Participant two narrated his experience of Body Mapping as a time and place of Ambivalence, Revelation and Release, Journey and Achievement. Findings are relevant to therapists working with physically traumatised individuals and recommendations for further research in the method are indicated. / Dissertation (MA (Counselling Psychology))--University of Pretoria, 2007. / Psychology / MA / unrestricted

Experiencing trauma in childhood can have a pervasive impact on child development. There is evidence to suggest that non verbal creative therapies aid the processing of traumatic memories and therefore present as a child centred treatment option for children who have experienced trauma. Art therapy is known to be an effective intervention for children who have experienced trauma however the outcomes of delivering art therapy interventions in specific contexts are not yet well researched. The present study sought to investigate the efficacy of school based art therapy as an intervention for children who have experienced psychological trauma. The study explores what areas of adjustment are achievable and how school based art therapy contributes to this adjustment. A multiple case study analysis was conducted to explore the experiences of three pupils who had attended art therapy interventions at their schools. Each case study used semi structured interviews, post intervention, to gather the views of the pupil, art therapist, a member of school staff and the pupil‘s parent / guardian. The data was analysed using thematic analysis and the results are presented as thematic network maps. The cross case synthesis revealed that after attending school based art therapy the pupils demonstrated positive adjustment in a range of areas. The thematic analysis suggested that the pupils had a greater understanding of themselves, increased resilience skills and a belief in a positive future. School based art therapy was found to be a wholly child centred therapeutic experience for the pupils, with the data suggesting that this child centred experience was facilitated by the process of the therapy, the non verbal creative art making and the context of delivery. This study provides the initial evidence to suggest that school based art therapy is an effective intervention for children who have experienced developmental trauma and presents avenues for future research.

This paper introduces the Bodymind model of Art Therapy and delineates the processes through which it has salutary effects on individuals coping with a variety of health related challenges. The goal of this model is to articulate how activation, reorganization, growth and reintegration of the self can emerge from bodymind processes activated by art therapy. It provides a framework for the conduct of research that will test the key theoretical mechanisms through which art therapy benefits clients. We expect this model to be a spring board for discussion, debate and development of the profession of art therapy. Furthermore, we hope readers can use this model to conduct sound mechanistic studies. This paper can inform social scientists and medical professionals on the manner in which art making can contribute to health.

No description available.

For the past 15 years I have been struggling to recover from the consequences of sexual abuse. I have been involved with many self abusive habits, including cutting different areas of my body. I have come to the understanding that these addictive habits evolved as a direct result of sexual abuse. The stories I am about to relate tell the fears and difficulties I have experienced as well as an account of the tremendous power that art has provided me towards a full recovery. I am writing this memoir in hopes that those who read it will better understand the consequences of sexual abuse, the importance of support and the way in which art can act as an effective form of therapy. I need to make art because it keeps me alive. It feeds me and makes my life livable. I realize that not everyone will understand or appreciate what I create. I realize that making art is always going to be something difficult for people to understand. But I don't care. I don't care because I have to make art. I just have to do it. Just like someone somewhere has to jump over a pole and win a gold medal. It keeps me healthy and provides me with the outlet I need. And so I've come to the understanding that I make artwork in order to live. I have discovered through my own experiences, that abuse is not something many people feel comfortable talking about. Often when abuse is talked about, people become withdrawn or nervous, afraid to approach the subject. This creates a tremendous strain for those who are trying to overcome the problems associated with abuse. What people need to understand is regardless of the difficulties surrounding communication, abuse happens and it happens to a lot of people. Using art as therapy allows my feelings to take form. They are outside of me for the moment. I can look at them and try to assess them. I have never told anyone the exact details of the abuse as words do not suffice. I have written down a number of detailed memories but I can't ever write it down the way it actually felt or feels. I know what I'm trying to say but words do not suffice. Throughout my graduate studies art has been an integral part of my healing. I knew I could not erase my abuse but I have found that by incorporating my art as a means of therapy, I have been able to find an increased sense of peace and strength. I have been able to fix things, things that before seemed unfixable. When I first began the project, aesthetic assumptions did not seem as important when compared to the benefits which came from the tangible physical process of making things. The process provided an outlet that wasn't going to hurt me. After continued therapy and assessment, it became easier and easier to recognize art as therapy. I was learning to channel my feelings and express things I couldn't express before. I was beginning to heal. For many the process alone could be sufficient; however I could not be fulfilled unless the work also incorporated a satisfying sense of aesthetics. I wanted people to see my work. I wanted them to see it and feel motivated to talk about abuse. I needed aesthetics to lure an audience that might otherwise not approach such subjects. While the main concept behind the work focuses on the actions of degradation, cleansing and reconstructing, I considered the work not only to be helpful therapeutically but also aesthetically pleasing. The work tells a history of the artistic processes which evolved as I continued through therapy. The work includes layers which indicate the advancement from fear and trauma to life and beauty. While parts of this document deal with extremely difficult issues, I haveallowed the text to wander, including more mundane or everyday diary type entries. I believe the manner of the text correlates directly with the art, emphasizing not only the brutality of abuse but also the hope and sense of achievement art has provided me as productive means of therapy.

This study examined the effectiveness of art therapy in decreasing symptoms of trauma and psychological distress in women who were incarcerated in county jails in the Southeastern United States. In order to protect the integrity of the study, control subjects were in different dormitories from the treatment subjects. While the dormitories were randomly assigned to treatment or control, the subjects were not. The dependent measures were paper and pencil tests, the Outcome Questionnaire (OQ-45.2) and the Trauma Symptom Inventory (TSI) given at pretest and posttest. A demographic questionnaire was completed in the first session to better characterize the participants. In addition, a post study evaluation with open ended questions was completed at the end of the study that allowed participants to share their feelings about the treatment experience. Additional qualitative information was obtained through observation data collected by the investigator who served as the provider of treatment. Art therapy group participants attended six sessions of art therapy over a three week period which was administered using six standard art projects. Like treatment subjects, control participants had access to the treatment available in the jail to all inmates, and were offered art therapy treatment after final data were obtained. Though the statistical data gathered in this study did not provide empirical evidence that the group art therapy treatment was effective in reducing symptomatology, the qualitative responses indicated that the treatment was rated very positively by the participants. No statistically significant changes were found in overall scores, however, some significance was found on some individual treatment scales. Scores measuring psychological distress and trauma symptoms generally decreased over time for all study participants, however, treatment participant scores improved at a greater rate. The study was limited due to small sample size (N=26). Nearly half of the original participants were lost to attrition associated with administrative actions in the county jail system. The measurement instruments used were not specifically adapted to incarcerated individuals and may not have provided adequate measurement for this population. Responses from the participants were overwhelmingly positive. Inmates responses to the post study evaluation indicated that they had enjoyed the experience and would recommend the group to others. More than 75% stated that they felt that the treatment had helped them deal with difficult experiences in their past. The most frequent suggestion for the future was that the groups needed to be continued, and should be longer and more frequent.