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Claire Allen Graduation Project Block 2 May 31, 2013 The Different Techniques of Art Therapy Ideas and concepts can take influence from vastly different opinions on the subject in question, but it does not mean one standpoint should be considered more over the other. This idea applies to the different techniques used in art therapy. Art therapy allows a person to grow psychologically and learn more about themselves through the use of artistic expression. Humans have always created art whether it is drawings on a cave wall to intricate portraits of government officials. Since art is such a basic way to describe ones inner feelings and opinions, it is only logical that art be used for discovering more about oneself in a professional setting along with a therapist. Art therapy is a way for those who might feel inadequate with their art-making skills to create art in a safe, non-judgmental environment. While there are many different perspectives on the benefits of art therapy and the best ways to utilize the methods involved, views regarding art therapy generally split into two sides: art psychotherapy and art as therapy. This split can also be roughly referred to as product verses process. On the product side of the spectrum, therapists focus more on analyzing the finished art piece of the client. The process category is where therapists find explanation of the clients inner feelings to be within the actual artistic creation process (Meyer). It is usually the norm for an art therapist to use ideas and exercises linked to both concepts. This gray area between art psychotherapy and art as therapy can get hazy, and often it is difficult to distinguish one from the other because art therapy and all related disciplines have roots in the development of psychology.

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The very basic foundation of art therapy can be traced back to the Austrian psychologist, Sigmund Freud. Freud developed psychoanalysis, the process of evaluating a persons emotional state based on that person talking about his or her problems and concerns (Psychoanalysis). Psychoanalysis focuses on the spoken exchange between patient and therapist, which some psychologists have come to call the talking cure (Malchiodi 221). Some believe the talking cure works if a patient is able to release tension through conversation with the therapist providing advice, while others consider it wise for the therapist to remain quiet with the client basically sorting through his or her issues. By voicing their problems, clients are able to come to catharsis, the purgation of emotions creatively (Catharsis). However, even though Freud relied heavily on talking therapy, he did discover during his observations that visual imagery and the unconscious are linked to one another. Many of his patients explained to Freud that it would be easier for them to express their feelings by picture rather than words (Malchiodi 24). This is an early example of art as therapy in a very rough form. Despite these opinions, Freud did not want to rely so heavily on visual images. For example, he remarks on visual imagery in dreams in his book The Interpretation of Dreams, revealing an opinion that imagery is no more helpful than verbal communication: The dream therefore thinks preponderantly, but not exclusively, in visual pictures. It also makes use of auditory pictures, and to a lesser extent of the impressions of the other senses. Much is so simply thought or imaginedjust as in the waking state. But still what is characteristic of the dream is only those elements, i.e. which resemble more the perceptions than the memory presentationsthe dream hallucinates, that is, replaces thoughts through hallucinations. In this respect, there is no difference between visual and acoustic presentations (Freud 41). The Freudian view of art therapy, referred to as psychoanalytical art therapy, or art psychotherapy mixes Freuds talking therapy techniques and the creation of artwork by the client. Strict boundaries need to be established in the relationship of the therapist and the patient

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for this type of therapy to run smoothly, such as a scheduled time limit for a regular session and a working code of ethics the for therapist. However, these boundaries can be quite easy to break; this act of disorganization is called acting out (Edwards 46-47). In terms of product verses process, this type of therapy stresses the importance of the finished product rather than the process of creation. Usually during these types of sessions, the therapist takes the role of a witness or an analyst. A witness studies the final product, as well as the process, and comes up with several conclusions regarding the feelings of the client. Then, the therapist retells his or her assumptions as a way to confirm or address the clients state of mind. An analyst simply observes the client and could even take notes. The therapist would just remain neutral and unobtrusive to the emotions of the client by keeping the observations to himself (Moon 212214). A great example of an art therapist who usually took the analyst approach would be Margaret Naumburg. Naumburg was greatly inspired by Freudian ideals and used them to aid in developing art therapy. She also believed in using techniques that relied more on the art as therapy side of the spectrum. Unlike Freud, Naumburg lived in the United States of America and was very influential for the growth of art therapy in this country. The Walden School, an institution for students to learn psychoanalytic principles, was founded by Naumburg in 1914, and it still stands in New York City to this day (Rubin 58). Naumburg believed that the interpretation of art should be left to the artist. This belief is somewhere in the middle of the divide between art as therapy and art psychotherapy, though it does lean toward the former. She often used the process of transference to relate to her clients also. Transference, another concept established by Freud, is the idea of a patient using the therapist to express deeply engrained feelings from childhood by conveying them onto the therapist. These feelings can be either positive or negative (Case and

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Dalley 60). Naumburg also encouraged the Freudian principle of free association, which allowed the client to say whatever comes to mind when creating artwork (Malchiodi 225). Free association is a great example of a concept that is used in both art psychotherapy and art as therapy. Free association can happen during the creative process and this allows both the therapist and the client to focus on the healing nature of the art-making. By using free association, the therapist is able to interpret the random feelings the client might have and will be able to notice some thoughts that are hidden in his or her unconscious. Free association can also happen when both artist and therapist are looking over the final product. This process helped Naumburg make sure the meaning of the art piece was actually deciphered by the artist, rather than assigning the picture her own value and symbolism. While Freud did not seize the opportunity to experiment and allow his patients to draw or paint their problems, he did become good friends with another psychologist at the time who leaned more toward an art as therapy perspective who realized that the process of creating visual imagery is just as important as conveying feelings through words. For a time, Carl Jung admired Freuds work and would often reference him in his own essays. When the Swiss psychologist was finally able to meet Freud, he was very excited to learn from him. Jung said, Freud was the first man of real importance I had encountered; in my experience up to that time, no one else could compare to him (as cited in Dunne 28). Freud took Jung in as a mentee and for several years, they discussed ideas and shared information. Unfortunately, in 1913, their relationship fell apart when several differences in opinion could no longer be ignored. From that point, Jung used the term analytical psychology to differentiate his methods from Freud (Edwards 30). While there are multiple distinctions between the teaching of Freud and Jung, the idea of visual imagery and the creation of art are the most apparent. Jung believed in actively using visual imagery

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during the therapeutic process, and he often encouraged his patients to create images regarding their feelings. This focus on the benefits of art-making during therapy sessions relates to the process side of the art therapy spectrum. However, even though Jungs focus is seemingly art as therapy alone, some of his ideals did help create the basic foundations of art psychotherapy, which shows the way different techniques influence each other. Jung was the man who coined the term, active imagination, which for him meant to comprehend the original image in a dream and connect it with similar symbols in the waking world (Edwards 30; Malchiodi 225-226). Jung often referred to these original symbols as archetypes, symbols deeply embedded in the shared human psyche. The usage of symbols shows Jungs ability to use different ideas and beliefs from all of art therapy. These archetypes help us when interacting with others and our environment. They help us piece together the abundance of symbols that we encounter on a daily basis (Coon and Mitterer 473). Several important archetypes would be anima and animus, meaning female and male respectively. Also, Jung believed the mandala to be the archetype of self (Coon and Mitterer 474). Mandala is the Sanskrit word meaning circle, totality, or completion, and is literally a vessel of the spirit. Mandalas are mostly used in religious rituals, but Jung saw the potential in using a mandala to heighten self-awareness. Since the process of creating a mandala is to focus solely on the creation of the shapes, the artist is able to make conscious connections in his or her mind about certain ideas or feelings (Laine 5-12). Since Jung used these mandalas as symbols, one could argue that this technique is strictly within the realm of art psychotherapy. However, the actual use of the mandala is for the client to focus on the process of making the image, so the actual purpose of the mandala is based in art as therapy ideals. This just shows the fluidity of art

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therapy and the potential of combining multiple concepts to fully benefit the emotional growth of the artist. The Jungian perspective of art therapy is more focused on the actual creation of the art itself. Through the process of making a piece of art, the active creativity of the patient is supposed to allow the expression of inner feelings and beliefs. Just this process alone is considered therapeutic (Dalley xiv). Since the Jungian perspective is so focused on process, it usually used in terms of art as therapy. One art therapist who used these principles in her work was Edith Kramer. In 1951, Kramer mainly worked with children in Wiltwyck, New York. She was a very influential person for the foundations of art therapy and wrote several books concerning art therapy, such as Art Therapy in a Childrens Community (Rubin 59). Kramer did utilize Jungs ideas in the basics of allowing the art to speak for itself, but she took it a step further by integrating herself into the actual artwork creation process. This approach is called Third Hand. Kramer defined Third Hand as, a hand that helps the creative process along without being intrusive, without distorting meaning or imposing pictorial ideas or preferences alien to the client (as cited in Moon 210). During this process, the therapist either creates the art along with the patient or helps sort out a problem that the client might be having with the materials and the technique. In this instance, the therapist would take on the role of collaborator by using the artist skills he or she has learned over time to aid in the overall integrity of the clients piece (Moon 217). Some therapists even create their own piece of art along with the patient. Some think the integration of art-making from both therapist and patient allows for the growth of positive change to occur (Malchiodi 231). For this idea of creation along side the client to be benefical for the therapists understanding of the clients emotions, it is best for the therapist to mirror the client. Mirroring is when the therapist uses the artistic techniques of the

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client in the creation of their own piece, so that they can observe how creating the art feels. (Meyer). Some therapists, however, think that creating art along with the patient can be detrimental to the healing process of therapy. The client might become self-conscious of his or her own work as compared to the work of the therapist or the therapist might get too absorbed in creating his or her own art piece to help the artist heal (Moon 211). The use of art-making by the therapist is up to personal preference and it depends on whether the therapist thinks it will benefit the client. In conclusion, art therapy is a fluid concept in which therapists can choose to take different ideas and use them within the healing experience for the client. Since the need for selfexpression is such an important part in most peoples lives, it can be difficult for a person who is suffering with emotional turmoil to discover a way to express themselves. By using the creation of art, whether it be something very simple or a piece that is very detailed, an artist can use imagery to accurately describe themselves where words might fail. Art therapy is generally split into two concepts: art as therapy and art psychotherapy. While both ideas are great on their own, it is more beneficial for the therapist to study multiple techniques and the gray area in between. Also, by utilizing these different concepts, the clients are able to discover what idea works best for their own growth. Whether it be the discovery of self through studying the symbols within the final product or focusing on internal emotions by emphasizing the process of art-making, art therapy is a broad field that is sure to benefit all people from different walks of life.

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