Course Philosophy
Art therapy can focus on the process of artistic creation itself, as therapy, or on the analysis of artistic expression through the interaction between client and psychotherapist. The psychoanalytic approach was one of the first forms of art therapy and involves the transfer process between the psychotherapist and the client. The psychotherapist interprets the client’s symbolic expression as being communicated in the art and interprets it with the client. At present, however, transfer analysis is not always a component of art therapy.
Current art therapy includes a large number of other approaches, such as person centered, cognitive, behavioral, Gestalt, narrative, Adlerian and family. The principles of art therapy involve humanism, creativity, reconciliation of emotional conflicts, stimulation of self-awareness and personal growth.
Definition of art therapy
The British Art Therapy Association defines psychotherapy through art as “a form of psychotherapy that uses art as a primary means of expression and communication.”
The American Association for Art Therapy defines art therapy as: “a profession related to integrated mental health and human services that enriches the lives of individuals, families and communities through active art, creative process, applied psychological theory and human experience in a psychotherapeutic relationship. “.
History of art therapy
Although art-therapy is a relatively young psychotherapeutic discipline, its roots are in the use of the arts in the “moral treatment” of psychiatric patients at the end of the eighteenth century. Art therapy, as a profession, began in the mid-20th century, appearing independently in the US and Europe.
British artist Adrian Hill invented the term art therapy in 1942. Hill, recovering from tuberculosis in a sanatorium, discovered the therapeutic benefits of drawing and painting during convalescence. He wrote that the value of art therapy is based on “the complete understanding of the mind (as well as the fingers) … the release of the creative energy of the frequently inhibited patient”, which allowed the patient to “build a strong defense against his misfortunes”.
Edward Adamson, the “father of art therapy in the UK,” demobilized after World War II, joined Adrian Hill to expand Hill’s work in British hospitals. Other early supporters of art therapy in the UK include E. M. Lyddiatt, Michael Edwards, Diana Raphael-Halliday and Rita Simon. The British Art Therapy Association was established in 1964.
US art therapy pioneers Margaret Naumburg and Edith Kramer started practicing at the same time as Hill. Naumburg, an educator, stated that “artistic therapy is psychoanalytically oriented” and that free expression of art “becomes a form of symbolic discourse that … leads to an increase in verbalization during therapy”. Edith Kramer emphasized the importance of the creative process, the psychological defense and the artistic quality, writing that “sublimation occurs when forms that successfully contain … anger, anxiety or pain are created.” Other early supporters of art therapy in the United States include Elinor Ulman, Robert “Bob” Ault and Judith Rubin. The American Art Therapy Association was established in 1969.
National professional art therapy associations exist in many countries, including Brazil, Canada, Finland, Israel, Japan, the Netherlands, Romania, South Korea and Sweden. International networks contribute to the establishment of standards of education and practice.
Use of art therapy
Art therapy is used in many clinical situations and in other environments with different populations. Art therapy is also used in non-clinical environments, as well as in art studios and creativity development workshops. Art therapists choose materials and interventions appropriate to the needs of clients and psychotherapy sessions in order to achieve the therapeutic goals. They use the creative process to help their clients cope with stress, to process traumatic experiences, to enhance their cognitive, memory and neurosensory skills, to improve interpersonal relationships and to achieve greater self-fulfillment. The activities that an art therapist chooses to do with clients depend on a variety of factors, such as their mental state or age. Many art therapists rely on images from resources such as ARAS (Archive for Research in Archetypal Symbolism) to incorporate art and historical symbols into their work with patients. Art therapists combine the methods of artistic therapy with the basic psychotherapeutic modalities in their treatment. The main uses of art therapy are:
– Trauma to children, to stimulate resistance and growth through self-expression
– General diseases: art and the creative process can help many diseases (cancer, heart disease, influenza, etc.). People can get rid of the emotional effects of the disease through art and many creative methods.
– Sometimes people can’t express how they feel, because it can be difficult to put into words, and art can help people express their experiences. During art therapy people can explore past, present and future experiences using art as a form of coping. “Art can be a haven for the intense emotions associated with the disease; there are no limits to the imagination in finding creative ways to express emotions.
– Hospitals have begun to study the influence of arts on patient care and have found that participants in art programs have more vitality and fewer complications.
– Cancer diagnosis: art is a coping mechanism and a tool to create a positive identity. Art therapy programs have helped patients regain an identity outside of having cancer, lessened the emotional pain of their fight with cancer, and also offered them hope for the future. Studies show that working with different types of visual arts (textiles, books, collages, ceramics, watercolors, acrylics) helps in the fight against cancer in 4 main ways. First, it helps patients focus on positive life experiences by improving their ongoing concern about cancer. Secondly, it has improved their self-worth and identity. Third, it allowed them to maintain a social identity that was opposed to being defined by cancer. And last but not least, it allowed them to express their feelings in a symbolic way, especially during chemotherapy. Studies have also shown that the emotional distress of cancer patients was reduced when using the creative process. Also, art therapy can provide a sense of “meaning of life” due to the physical act of creating art. In addition, art therapy has improved levels of motivation, ability to discuss emotional and physical health, general well-being and increased overall quality of life in cancer patients.
– Post-traumatic stress syndrome and traumas resulting from disasters: Art therapy has been used in a variety of traumatic experiences, including in the case of disasters and crisis intervention. Some strategies to work with disaster victims include: assessing post-traumatic stress disorder (PTSD), normalizing feelings, modeling coping skills, promoting relaxation skills, creating a social assistance network, and increasing the sense of security and stability.
– Dementia: art therapy brings benefits in terms of quality of life.
– Autism: art therapy has been widely studied in autism since 2011.
– Schizophrenia.
The purpose of art therapy
The purpose of artistic therapy is, in essence, one of healing. Art-therapy can be successfully applied to clients with physical, mental or emotional problems, various diseases and disorders. Any kind of visual art and artistic environment can be used in the therapeutic process, including painting, drawing, sculpture, photography and digital art.
A learning mechanism in art therapy is through the strengthening of neural connections. In most art therapy sessions, the focus is on the client’s inner experience – his feelings, perceptions and imagination. While artistic therapy may involve learning skills or art techniques, the focus is primarily on developing and expressing the images that come from within the person, rather than those seen in the outside world.
Art therapy is often offered in schools as a form of therapy for children due to their creativity and interest in art as a means of expression. Therapy can benefit children with a variety of problems, such as learning disabilities, speech and language disorders, behavioral and other emotional disorders that may impede learning.
Our projects
By integrating the art and forms of artistic expression into strategic integrative psychotherapy, the art department of the Association for Integrative Research, Counseling and Psychotherapy proposes started the following projects:
– A training program in the field of integrative expressive psychotherapy, including elements of art-therapy, music therapy, drama-therapy, bibliotherapy and cinema-therapy;
– A personal development project for art instructors;
– Training as art therapy assistants of art instructors;
– Round tables; and
– Treatment groups through integrative expressive psychotherapy for various groups of patients.
TRAINING IN EXPRESSIVE PSYCHOTHERAPY
MODULE 1. HISTORY AND THEORY OF ART, EXPRESSIVE PSYCHOTHERAPY and INTEGRATIVE PSYCHOTHERAPY
1. History and theory of the arts: 1.1. History of the visual arts; 1.2. History of music; 1.3. History of dance; 1.4. History of the theater; 1.5. Introduction to the theory of the arts (visual arts, dance, music, theater); 2. The history and theory of expressive psychotherapy: 2.1. The history of psychotherapy through the use of visual arts and visual arts; 2.2. The history of melotherapy; 2.3. History of dance therapy; 2.4. History of drama-therapy and playback theater; 2.5. Artistic means used in psychotherapy: drawing, painting, collages, pottery, music, dance, theater; 2.6. Introduction to the theory of art-therapy / psychotherapy by expressive means; 2.7. Introduction to art-therapy neurobiology; 3. The history and basic theory of integrative psychotherapy: 3.1. History of integrative psychotherapy; 3.2. First generation integrative models; 3.3. Second generation integrative models.
MODULE 2. ART SEMINAR – DRAWING AND PAINTING. PART I
1. Drawing materials; 2. Form as an element of plastic expression; 3. Variation of forms as treatment and plastic expression: 3.1. Figurative and non-figurative forms; 3.2. The elaborate and spontaneous forms; 3.3. Stylized shapes; 3.4. Geometric shapes; 3.5. Transfigured shapes; 4. Composition of forms: 4.1. verticality; 4.2. horizontality; 4.3. linearity; 4.4. Cicularity; 4.5. repetition; 4.6. The point; 4.7. Area
MODULE 3. INTEGRATIVE PSYCHOTHERAPY – THEORETICAL FOUNDATIONS
1. First generation integrative models: 1.1. Technical Eclecticism: Multimodal Therapy – Arnold Lazarus; Systematic treatment selection – Beutler, Consoli and Lane; 1.2. Common factors in psychotherapy: The model of future predictions – Beitman; Informed Clinical Strategy – Miller, Duncan and Hubble; 1.3. Theoretical integration: The trans-theoretical model – Prochaska and DiClemente and the revised transtheoretical model – Freeman and Dolan; Relational cyclic psychodynamics – Wachtel; 1.4. Integration through assimilation: Assimilative psychodynamic psychotherapy – Stricker and Gold; Assimilative cognitive-behavioral integration – Castonguay), 2. Second generation integrative models 2.1. Relational psychotherapy – Gilbert and Evans; 2.2. The contact model in the relationship – Erskine, Moursund and Trautmann; 2.3. Multi-theoretic psychotherapy – Brooks-Harris; 2.4. Multicultural integrative psychotherapy; 2.5. Strategic integrative psychotherapy
MODULE 4. PSYCHODIAGNOSTIC IN INTEGRATIVE PSYCHOTHERAPY AND USE OF EXPRESSIVE MEANS IN PSYCHODIAGNOSIS
1. Psychiatric diagnosis: categorical diagnosis and dimensional diagnosis: 1.1. DSM5 diagnostic system; 1.2. ICD diagnostic system; 1.3. Dimensional diagnosis; 2. Structured diagnosis and unstructured diagnosis; 3. Psychotherapeutic diagnosis: 3.1. The object of the psychotherapeutic diagnosis; 3.2. Components of psychotherapeutic diagnosis; 3.3. Relational diagnosis; 4. Formulating the case in integrative psychotherapy; 5. Structured and unstructured projective tests; 6. Evaluation through visual arts; 7. Interpretation of the drawing – fundamental elements; 8. Psychiatric diagnosis through dance and music – fundamental elements.
MODULE 5. COMMON FACTORS IN PSYCHOTHERAPY
1. Classification of common factors in psychotherapy; 2. The therapeutic alliance and relationship: 2.1. Ruptures of the therapeutic alliance; 2.2. Building and maintaining the therapeutic relationship; 2.3. The model of the six modalities of relations; 3. Psychotherapist variable: 3.1. empathy; 3.2. Unconditional acceptance; 3.3. authenticity; 3.4. Professional variables; 3.5. Demographic and diversity variables; 3.6. Personality variables; 3.7. The personal development of the psychotherapist; 3.8. The attachment style of the psychotherapist; 4. Client variable; 5. Motivation: 5.1. Intrinsic and extrinsic motivation; 5.2. The locus of control; 5.3. Helplessness learned; 5.4. Motivation for change and stages of change in psychotherapy; 6. Placebo, hope and expectation; Learning experiences; 7. Strengthening the ego; 8. Attribution of the results of psychotherapy; 9. Therapeutic context; 10. Therapeutic rituals; 11. Insight; 12. Catharsis; 13. The therapeutic myth; 14. The use of art as a common technical factor in psychotherapy.
MODULE 6. ART SEMINAR – DRAWING AND PAINTING. PART II
1. Contrasts and chromatic – generalities; 2. Pure color contrast: 2.1. Primary, secondary, tertiary colors; 2.2. The relation of colors in composition; 2.3. Color palette; 3. Clear-dark contrast; 4. Cold-hot contrast; 5. The complementary color contrast; 6. Simultaneous contrast; 7. Quality contrast; 8. Quantity contrast
MODULE 7. INTERPRETATION OF DRAWING AND PAINTINGS FROM THE INTEGRATIVE PERSPECTIVE
1. Personal history prior to drawing / painting analysis; 2. Analysis of the drawing: 2.1. Behavior during drawing; 2.2. Emotions present during drawing; 2.3. Stages of child drawing development; 2.4. Analysis of the general impression created by drawing / painting: 2.4.1. Subjective impression; 2.4.2. Artistic impression; 2.4.3. Linguistic expression; 2.4.4. style; 2.5. Analysis of execution and organization: 2.5.1. Reasons, symbols and signs; 2.5.2. Form; 2.5.3. The proportion; 2.5.4. color; 2.5.5. movement; 2.6. Space, time and composition: 2.6.1. Emotional signs in the vertical structure; 2.6.2. Emotional signs in the horizontal structure; 2.6.3. Mirrored projection of the body image on the drawing surface; 2.6.4. Emotional signs in portraying situations; 2.6.5. Emotional signs in the temporal order of the appearance of motives; 2.7. The power of symbols
MODULE 8. ART SEMINAR – DRAWING AND PAINTING. PART III
1. Perspectives: 1.1. Static nature; 1.2. Valoraţia; 1.3. sketches; 2. Composition: 2.1. Compositional organization; 2.2. Principles of formal organization of the composition; 2.3. The closed composition and the open composition; 2.4. Static composition and dynamic composition; 2.5. Composition center and center of interest; 2.6. Dynamics of forms in composition
MODULE 9. ART SEMINAR – ARTISTIC MEANS
Course: 10 hours. Contents: 1. The struggle and its properties: 1.1. Properties of clay; 1.2. Natural and artificial objects; 1.3. The technique of working with clay; 1.4. masks; 1.5. Three-dimensional structure; 2. Textile materials: 2.1. Properties and characteristics of textile materials; 2.2. Wire structures; 2.3. Cuts; 3. Complementary media in art: photography, film, computer graphics: 3.1. Spatial arrangement; 3.2. The part and the whole.
MODULE 10. INTEGRATIVE PSYCHOTHERAPY: EMOTION AND COGNITION
1. Cognitive maps: central beliefs, intermediate beliefs, automatic thoughts, explanatory style; 2. Attachment: 2.1. Formation of attachment; 2.2. Child attachment styles; 2.3. Neurobiology of attachment; 2.4. Adult attachment; 3. Emotions, emotional expression and emotional regulation; Value conditions; 4. Emotion and cognition in the visual arts; 5. Emotion and cognition in dance and music.
MODULE 11. ELEMENTS OF PSYCHODYNAMICS
1. Sub-personalities or parts of the self: 1.1. The parts of the ego; 1.2. Inner advisor or center; 1.3. Model of internal family systems; 1.4. Therapy of the parts of the ego; 2. The ego states: 2.1. Concept of ego states; 2.2. Ego state therapy; 3. Psychological games: 3.1. The concept of psychological games; 3.2. The dramatic triangle; 3.3. Basic positions in life; 3.4. Life scenario; 3.5. Transference and counter-transference
MODULE 12. PSYCHODYNAMIC EXPRESSIVE PSYCHOTHERAPY
1. Sublimation and art therapy; 2. Freudian themes in drawing and painting: 2.1. The importance of the unconscious in psychoanalytic thinking; 2.2. symbolism; 2.3. Psychoanalytic theory of symbolism; 3. Theory of object relations and art-therapy; 4. Jungian art-therapy: 4.1. compensation; 4.2. The collective unconscious and the symbolism; 4.2. The image, the archetype and the complex; 4.3. Psychic energy; 4.4. Sign and symbol in Jungian psychology; 4.5. Dreams and art therapy; 5. Art-therapy based on mentalization; 6. Approaching the art-therapy studio
MODULE 13. INTEGRATIVE-EXPRESSIVE PSYCHOTHERAPY IN WORKING WITH FAMILIES
1. Formulation of the case in family psychotherapy; 2. Family roles; 3. Family patterns; 4. Family systems; 5. The use of art in family and couple psychotherapy; 6. Model of family systems in dance therapy
MODULE 14. THEORY AND NEUROBIOLOGY OF INTEGRATIVE PSYCHOTHERAPY AND INTEGRATIVE-EXPRESSIVE PSYCHOTHERAPY
1. Art-therapy and neurosciences: 1.1. Hemispheric processing in art therapy; 1.2. Images and image formation; 1.3. Mind-body connection in art therapy; 1.4. Art-therapy and neuroplasticity; 1.5. Use of art therapy in the treatment of trauma; 2. Sensory processes and responses; 3. Regulation of sensory and emotional responses; 4. Memory and art; 5. Neurobiological relational principles in art therapy; 6. Attachment and art-therapy; 7. Neurobiology in integrative psychotherapy: 7.1. Formula of the first human experience; 7.2. Internal working models; 7.3. Formation of neural networks.
MODULE 15. GUIDELINES IN ART-THERAPY
1. Cognitive-behavioral psychotherapy: 1.1. The key components of cognitive-behavioral psychotherapy; 1.2. Imaginary exposure through art therapy; 1.3. Solution-focused short art therapy; 2. Gestalt psychotherapy: 2.1. Basic principles of gestalt theory; 2.2. Techniques of gestalt psychotherapy; 2.3. Images and speech; 3. Person-centered psychotherapy: 3.1. The basic principles of the person-centered approach; 3.2. Drawing as an extension of self; 4. Psychodrama: 4.1. The basic principles of psychodrama; 4.2. Integrative aspects in psychodrama; 4.3. The integrative use of art therapy and psychodrama
MODULE 16. EXISTENTIAL EXPRESSIVE PSYCHOTHERAPY
1. The four basic concerns: 1.1. Anguish of death; 1.2. The meaning of life; 1.3. Responsibility and autonomy; 1.4. Existential isolation; 2. Existential guilt; 3. Time and time management; 4. Art-existential orientation therapy: 4.1. Metaphor, ritual and journey; 4.2. The art and the existential unconscious
MODULE 17. HUMAN DEVELOPMENT, ART AND INTEGRATIVE-EXPRESSIVE PSYCHOTHERAPY
1. The evolutionary role of art; 2. The art of the child from a developmental perspective: 2.1. Pre-symbolism; 2.2. symbolism; 2.3. The crisis of reality; 3. Art-therapy: utility in child psychopathology: 3.1. Art therapy in autism; 3.2. Art therapy in the treatment of the traumatized child; 4. Creative rehabilitation: the use of art therapy in working with the elderly population
MODULE 18. ART-GROUP THERAPY
1. Group and group interactions; 2. The principles of group psychotherapy; 3. Art-group therapy: 3.1. Conogram of group interactions; 3.2. Techniques of group therapy; 3.3. The group as a learning environment
MODULE 19. METAPHORES, WRITING AND POEMS IN PSYCHOTHERAPY
1. Writing and reflexivity: writing as personal development: 1.1. Therapeutic writing and facilitating writing; 1.2. journals; 1.3. dreams; 1.4. Self, body and identity – expression through literature; 12. Poetry used for psychotherapeutic purposes: 2.1. History of psychotherapy through poetry; 2.2. Working methods: individual, family, group; 2.3. Developmental stages and psychotherapy through poetry; 3. Fiction and personal history in psychotherapy; 4. Elements of bibliotherapy; 5. Humor in psychotherapy
MODULE 20. RESEARCH AND ETHICS IN INTEGRATIVE-EXPRESSIVE PSYCHOTHERAPY
1. Quantitative research and qualitative research; 2. Research in art-therapy; 3. Research in drama therapy; 4. Experimental design and research in dance therapy; 5. Qualitative and quantitative research in melotherapy; 6. Microanalysis in melotherapy.
MODULE 21. DRAMA-THERAPY ELEMENTS: INTEGRATIVE APPROACH
1. Drama-therapy: theory and history: 1.1. Definition of drama therapy; 1.2. History of drama-therapy; 1.3. Drama-therapy in relation to other psychotherapies – psychoanalysis, psychodrama, existential psychotherapy, cognitive-behavioral psychotherapy, family psychotherapy; 2. The interdisciplinary sources of drama-therapy (psychotherapy through play, psychodrama, theater, psychoanalysis, developmental psychology); 3. Concepts and theories in drama therapy (role, representation, distance, spontaneity, unconsciousness); 4. Techniques in drama therapy: 4.1. Structuring the drama-therapy session; 4.2. Psychodramatic techniques: heating, the protagonist, the auxiliary self, the reversal of the role, the double, the ending; 4.3. Projective techniques; 5. Drama-therapy in working with children; 6. Current approaches in drama therapy: 6.1. The five-stage integrative model of drama therapy; 6.2. The role theory and the role method in drama therapy; 6.3. Narrative approach in drama-therapy; 6.4. Developmental themes in drama-therapy; 6.5. Bergman method in drama therapy; 6.6. psychodrama; 6.7. The playback theater.
MODULE 22. CINEMA-THERAPY: INTEGRATIVE APPROACH
1. Theory and history of film therapy; 2. The characters in the film and their use in psychotherapy; 3. Emotions in film therapy; 4. Relationships and attachment; 5. Psychoanalysis and film therapy; 6. Cinema-therapy and life scenario; 7. Movies used in psychotherapy
MODULE 23. PSYCHOLOGY OF MUSIC AND DANCE
1. Psycho-acoustics; 2. Neurological aspects of the musical experience; 3. The inclination towards music and cerebral dominance; 4. Communication through music; 5. Music and altered states of consciousness; 6. Music as an analogy and metaphor
MODULE 24. ELEMENTS OF MELOTHERAPY: INTEGRATIVE APPROACH
Course: 10 hours. Contents: 1. Definition and history of melotherapy; 2. Neurobiology; 3. Approaches in melotherapy: 3.1. Guided imagery and music – Bonny method; 3.2. Analytical orientation melotherapy – Priestley method; 3.3. Creative melotherapy – Nordoff – Robbins model; 3.4. Free Improvisation – Alvin’s model; 3.5. Behavioral melotherapy; 3.6. Group melotherapy
MODULE 25. DANCE AND MOVEMENT IN INTEGRATIVE-EXPRESSIVE PSYCHOTHERAPY. PART I
1. Theoretical perspectives in dance therapy; 2. Movement, games and body awareness; 3. The body, movement and trauma; 4. Methods of psychological evaluation in dance therapy; 5. Kestenberg profile of the movement; 6. Physical movement and personality; 7. Transfer to dance therapy; 8. Movement and sexuality in dance therapy; 9. The body as a symbol; 10. The connection with the other in dance therapy; 11. The conscious and the unconscious in dance; 12. Problems of attachment and intersubjectivity expressed in dance.
MODULE 26. DANCE AND MOVEMENT IN INTEGRATIVE-EXPRESSIVE PSYCHOTHERAPY. PART II
1. Neurobiology in dance therapy: 1.1. Memory and dance; 1.2. Reason, emotions and dance; 1.3. The neural mechanisms involved in dance; 2. The Jungian approach in dance therapy: 2.1. Elements of Jungian psychoanalysis; 2.2. Archetypes and dance therapy; 2.3. The self and the shadow reflected in the movement and dance.
MODULE 27. INTEGRATIVE-EXPRESSIVE PSYCHOTHERAPY IN THE TREATMENT OF TRAUMAS
1. Psychotherapeutic principles in the treatment of trauma; 2. Post-traumatic stress syndrome: 2.1. Dance therapy in post-traumatic stress syndrome; 2.2. Melotherapy in the treatment of post-traumatic stress syndrome; 2.3. Techniques of art therapy in the treatment of post-traumatic stress syndrome; 3. Acute stress and acute trauma: 3.1. Melotherapy in the treatment of stress and acute trauma; 3.2. Art therapy in the treatment of stress and acute trauma
MODULE 28. INTEGRATIVE-EXPRESSIVE PSYCHOTHERAPY IN THE TREATMENT OF DEPRESSION AND ANXIETY
1. Treatment of depression through expressive psychotherapy: 1.1. Visual arts in the treatment of depression; 1.2. Melotherapy in the treatment of depression; 1.3. Creative writing in the treatment of depression; 1.4. Dance and movement in the treatment of depression; 1.5. The use of therapeutic metaphors in the treatment of depression); 2. Treatment of anxiety through expressive psychotherapy: 2.1. Drama-therapy in the treatment of anxiety; 2.2. Art therapy in the treatment of anxiety; 2.3. Dance therapy in the treatment of anxiety
MODULE 29. INTEGRATIVE-EXPRESSIVE PSYCHOTHERAPY IN THE TREATMENT OF EATING DISORDERS
1. The use of expressive means in the treatment of eating disorders; 2. Melotherapy in the treatment of eating disorders: 2.1. The integrative approach in melotherapy; 2.2. The Bonny Method; 3. The use of visual arts in the treatment of eating disorders; 4. Drama-therapy and internal family systems; 5.In-therapy in the treatment of eating disorders: 5.1. Listening to the body; 5.2. Movement and dance – a method of improving body image.
MODULE 30. INTEGRATIVE-EXPRESSIVE PSYCHOTHERAPY IN THE TREATMENT OF SEVERE PSYHOPATOLOGY
1. Spectrum of schizophrenia: 1.1. Use of drama therapy in disorders of the schizophrenia spectrum; 1.2. Melotherapy in psychoses; 1.3. Rules for the use of art therapy in the treatment of schizophrenia; 2. Personality disorders: 2.1. Use of cinema therapy in personality disorders; 2.2. The use of art therapy in the treatment of personality disorders
Personal development
Personal development is centered, on the one hand, on the development of communication abilities, relational abilities and self-reflection, and on the other hand on self-discovery, so that the trainees discover the way in which their personal history helps or constraints their professional tasks, and their own responses to professional dilemmas.
Supervision
Supervision focuses on consolidating the integration of theory and practice and the development of a professional attitude. Supervisees can have an insight regarding their own clinical activity and they have the opportunity of discovering what they already do well and what they might improve or replace.
Supervision implies respect for the supervisee’s knowledge and experience and emphasizes the way in which the supervisee’s experience is relevant in his/her current professional practice.
Supervision is provided by ACCPI supervisors.
Within the expressive psychotherapy training programme psychotherapists are required a minimum of 150 hours of group supervision, 50 hours of individual supervision and 50 hours of peer supervision-intervision for a clinical practice of at least 300 hours.