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A Basic Guide for Understanding
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and Imple111enting Art Therapy
Activities with Children
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r This guidebook aims or intends to serve as a reference tool for parents, caregivers and
individuals working with children in need of special protection. Whether interacting with
children who are survivors of abuse, children in conflict with the law, street children, children
with special needs, or neglected and abandoned children, creative arts activities provide an
opportunity to address their complex needs.

Counseling is a dynamic process that allows children to freely express themselves in a non­
judgmental environment. The use of creative arts in counseling helps children develop and
rI grow outside of traditional methods.

Inside are various art activities that can be used to help children who have difficulty expressing
their thoughts and feelings verbally. The manual is broken down into sections to help guide the
reader towards appropriate activities that address the child's needs.

This guide should be used as a basic outline for the facilitator. Feel free to make modifications
as needed and be sure to consider the client's abilities and their comfort level when adapting
the activities. Be creative and have fun!

Samantha West
I am taken back by your words-
U.S. Peace Corps Volunteer
To your history and the mystery of being
Consuela Home
human in an all-too-often robotic world.
Child and Family Service Philippines
I hear your pain
Baguio City
and see the pictures you paint
2009·2011 : so cautiously and vividly.
II The world you draw is a kaleidoscope

, ever changing, ever new, encircling and

! fragile.
! Moving past the time and through the
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shadows you look for hope beyond the

i groups you knew as a child.

II want to say: "J'm here. Trust the process."

!I But the artwork is your own

1so I withdrew and watch you work while

1
I occasionally offering you colors and images
I of the possible.
1 - Samuel T. Gladding, PhD

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Introduction to Art Therapy

What is Art Therapy

6

Who Can Facilitate? 7

Setting Up an Art Space ................................•....................... 8

Art Material Continuum 9

Stages of Child Development and Art 10

Implementing an Art Therapy Program/Curriculum 12

Group Sessions 13

Creative Art Interpretation 14

Color Meanings and Symbolism 16

Case Study .•.......................................................................... 17

Elements of Art Activity 19

Rapport Building Activities

Scribble Chase 1 24

Scribble Chase 2 24

Name Monster......................................................................... 25

Rocket 26

Assessments
Ulman Personality Assessment (UPAP) 27

Levick Emotional Cognitive Art Therapy Assessment 28

Nest Drawing
29

Volcano Drawing
30

Drawn a Person in the Rain

31

r.

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Self Development
Inside/Out Box 32

[ ~
Spill Journaling .................................................•....... 34

Mandala 35

l Mask 36

Living Tree 37

l:
Yin/Yang 38

Hand Drawing 39

f Boat Drawing 40

Future Me ........................................................•......... 41

Identifying Feelings
Feeling Rainbow 42

Feelings Quilt 43

Bridging Emotions 44

Today I Feel 45

This is Me 47

Feelings Journal 47

Heating from Traumatic Experiences

Family Outing 48

Transformative Self Portrait 49

Typhoon Drawing 50

What Happened to Me 50

Saying IINo" and Setting Boundaries 51

Poem 52

Dream World 54

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Problem Solving and Teamwork
Breaking Down my Problems into Bite-size Pieces 55
Animal Mentor 57
Beautiful-Ugly-Beautiful ................•....................................... 58
Group Poetry 59
Found Music 60

Coping with Anger, Frustration and Disappointment

Anger Sculpture 61
Identifying Difficult Emotions 62
Letting Go 64
Releasing Anger 65
Relaxed and Tense 66

Activities for Children with Special Needs

Leaf by Leaf 67
Shoe Fish 68
Sponge Art 69
Blottos 69

Appendix
Glossary of Terms 70
Documentation Form 72
Resources 74

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[ Art has the potential to change lives and often in profound ways.
When words are not enough, we turn to images and symbols to tell our stories. And in telling II
f' our stories through art, we can find a path to health and well ness, emotional reparation,

recovery, and ultimately, transformation.

-International Art Therapy Organization (IATC)

What is Art Therapy?

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Art therapy evolved from the collaboration of professional ideas from the fields of fine and
creative arts, education and mental health. Artists began to notice that their creations helped
them experience a connection between the mind and body. Mental health professionals noted
that through art, their clients were able to open up clearer lines of communication. Art as a
therapeutic process was officially recognized in 1969, with the formation of the American Art
Therapy Association (MTA).

According to the MTA, art therapy can be used for:

- reconciling emotional conflicts

- fostering self-awareness

- developing social skills

- managing behavior

- solving problems

- reducing anxiety

- aiding reality orientation

- increasing self-esteem

Art therapy is a helpful medium with children because it allows them to express their feelings
and emotions in a non-threatening way. Crayons and markers become the child's words and
artwork becomes their story. With the guidance of a competent facilitator, art is a thought
provoking process that helps children reflect, dream, create and grow.

Who Can Facilitate?

At present, there is no specific accreditation process to become a certified Art Therapist in the
Philippines. Before conducting art therapy activities, facilitators should:

~ have a background in social sciences

~ understand the art therapy process

~ be alert, sensitive and accepting of client's needs

~ have a thorough understanding of child development

~ practice non-judgmental acceptance

~ read though this manual and continue art therapy education

~ be able to use a range of art and art-making materials and techniques competently and
be able to help a child work with these

~ use creativity, intuition and imagination

=> the ability to handle sensitive and difficult issues

=> docu ment all sessions

=> be able to maintain client confidentiality

=> refer children to other service providers when necessary

['
[ Setting up an Art Space
from Reaching the Tough Adolescent through Expressive Arts Therapy Groups
( by Poppy K. Moon, NCC, LPC

The following materials are useful to have on-hand during art activities.

Paint
acrylic paint, cups for paint, brushes, poster color, watercolors, brush
[ cleaner, plates for mixing colors, spoons to stir paint, plastic garbage
bags for kids to wear over their clothes

[ Dry Media
wax crayons, felt tip pens, oil pastels, charcoal, colored pencils, markers

Paper
construction paper, coupon bond, tracing paper, brightly colored paper,
scraps of unusual paper, rolls of newsprint, manila paper

Cutting Materials
scissors, x-acto knives, circle cutters, hole punches (with different punch
designs - stars, hearts, etc.)

Collage Materials
old magazines, fabrics, textured materials

Miscellaneous
bits of thread, embroidery floss, beads, hemp rope, stickers, ribbon, old
and unusual buttons

Adhesives
collage glue, craft glue, fabric glue, rubber cement, glue sticks, spray
adhesive, tape

Clean-up Supplies
rags, paper towels, newspaper to cover the art surfaces, plastic bags,
tarps, cloths, window cleaner

Art Material Continuum

based on research presented in The Art Therapy Sourcebook

Least Control! Most Controll

Fluid Emotions Thinking

abused and neglected children emotional,

aggressive children hyperactive children

colored pencils lead pencils

hard clay print making

small paper size

When selecting art materials to use, it is important to think about the physical characteristics
and qualities of materials. Fluid materials such as paints and pastels are easier to manipulate,
but harder to control. More restrictive materials such as pencils, markers and collages allow you
to be more precise and are easier to control.

The effects of using certain art materials with children who have special needs should be
considered. To reduce anxiety or energy levels and provide a calmer environment, more
controlled materials should be used. These materials are good for children who are extremely
emotional or hyperactive. The use of fluid materials is suitable for children who have a difficulty
expressing themselves. Less controlled materials help children loosen up, play and feely express
their thoughts.

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r Stages of Child Development and Art
adapted from Lowenfeld and Brittain, 1987
[
Age Stage Characteristics Sample
2 to4 Scribbling Twenty basic scribbles form the building
r years blocks of art. Generally disordered in
approach with controlled, repeated
motions, and employing naming, which
r marks a change from kinesthetic to
imaginative thinking. Human figures are

r not common.

4to7 Pre­ Find relationships between drawing,

years schematic thinking and environment. Use various
symbols in search of a definite concept.
For human figures, use circular motion
for head, longitudinal lines for legs and
arms.

7to9 Schematic Have a definite concept of man and

years environment; show self-assurance
through repeated forms, schemes, and
symbols; use straight lines. For human
figures, reproduce definite concepts of
figure.

9to 11 Drawing Removed from straight lines and from

years Realism simple expression; first conscious
approach toward decoration. For
human figures, attention paid to
clothes, emphasizing differences
between male and female; more
stiffness and emphasis on detail; tend to
be more realistic.

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12 to 14 Psuedo­ Drawings reflect critical awareness of

years naturalistic own shortcomings in art, can become
shorthand notations; can focus on
selected parts of environment; tend not
to engage in spontaneous art activity;
for some, focus on details such as
wrinkles or folds; project non-literal,
personal meaning into objects and
events.
For human figures, closer to correct
proportions with greater awareness of
joints and body actions; facial
expressions vary; cartooning; person
can be represented by less than
complete figure; sexual characteristics
overemphasized.
14 to 17 Adolescent Without further instruction, drawings
years tend to resemble those done at age 12;
conscious development of artistic
abilities; subjective interpretation to
drawings; visually minded may derive
pleasure from details such as light and
shade; longer attention span with
mastery of all art materials; control over
purposeful expression. For human
figures, some attempt at naturalistic
depiction, with awareness of
proportion, action, and detail;
exaggeration of detail for emphasis;
imaginative use of figure for satire.

It is important to consider the Stages of Child Development and Art when assessing the activity
suitable for the child/children you are working with. If you give an abstract task to a child who is
in the scribbling stage, it will not be understood. If simple tasks are given to adolescents, they
might become bored. Teens are able to think abstractly and engage in more complex tasks so it
is important to provide materials that challenge them.

When processing and analyzing the client's artwork, refer back to development chart.

11
[
r Process for Implementing an Art Therapy Program/Curriculum

Typically, program implementation will last between 8 - 12 weeks. Sessions should be

l conducted on a regular basis. It is important to consider the treatment goals of the
child/children you are working with when developing an outline of activities to use. Below is a

r sample curriculum for a group of girls (age 7 - 14) who are survivors of sexual abuse.

Treatment Goals:
increase self-confidence
explore and clarify incidences of abuse
resolve negative emotions relating to past abuse
promote positive interaction with peers
Session TItle Objective
Session 1 Elements of Art Rapport Building! Introduction to Art
Therapy
Session 2 Feelings Rainbow Identifying Emotions
Session 3 Hand Drawing Self-Development
Session 4 Spill Journaling Self- Development
Session 5 Yin/Yang Self- Development
Session 6 Mask Self-Development
Session 7 Family Outing Healing from Traumatic Experiences
Session 8 What Happened to Me Healing from Traumatic Experiences
Session 9 Transformative Self- Portrait Healing from Traumatic Experiences
Session 10 Dream World Healing from Traumatic Experiences
Session 11 Boat Drawing Self- Development
Session 12 Future Me Self- Development
* A re-assessment will be made after the 12th session to explore futu re art therapy activities
that are more relevant to the girls' needs.
............ : : : ::.: .. : .. :::: :.: : .. :: : : .. : .. :: : .. : : : :: : :.

The Basic Flow of Art Therapy Sessions

Although the process of creating art itself is therapeutic, the facilitator is able to dig deeper and

understand the full meaning of a child's creation through processing. The facilitator should

guide the processing, allowing the participant to explore his/her work and relate it back to their

lives. Taking notes during the activity is ok, unless it is bothersome to the artist.

Introduction Activity (10 minutes)

Step 1: ask the child/children to focus on a feeling or an event (5 minutes)

Step 2: the child creates an image that represents the feeling or event (30 minutes)

Step 3: facilitator and participant(s) discuss the significance of the created image (30 minutes)

12

Group Sessions

Most of the activities in this manual can be used with individual clients or groups. Due to time
constraints and case load l group therapy is often more efficient.

Advantages of Group Art Therapy from Art Therapy for Groups

~ Group work provides a relevant context for social learning.

~ Individuals with similar experiences can provide mutual support.
~ Group members can learn from the feedback of others.
~ Group members can try new roles, from seeing how others react (role-modeling).
~ Promotes problem solving and critical thinking.

Groups should not exceed twelve members. This gives members enough time to share their
output with one another. Group members should be selected by age, cognitive ability and
common experiences.

Sample of Groups

~ boys age 15-18, in conflict with the law

~ teenage mothers
=> survivors of abuse.. age 6-12
~ survivors of abuse, age 13-18
=> children whose parents are working abroad, age 12-15

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r
[ Creative Art Interpretation
Research by Scott Riviere
[
Size Large drawings that take up the entire page are
often drawn by aggressive children with poorly
developed inner controls. They are suggestive of
r grandiose feelings. Occasionally, shy and timid
children with poor self-concepts draw large
figures, expressing their wish to be more
powerful and noticeable.

Small drawings (one or two inches in height) are

drawn by timid, shy, or withdrawn children and
r the small size reflects their insecurity. These
children feel insignificant or tiny. Occasionally,
overtly aggressive children with poor self-image
will draw small figures.

Omissions Children concerned or anxious about specific

body parts may omit them.

hands- omission of hands suggests insecurity and

difficulty in dealing with the environment.

arms- when arms are omitted, the child feels

inadequate and ineffective. Since arms represent
power and strength, their omission represents a
perceived lack of power and strength.

legs- legs provide support to the body; when they

are omitted, the child perceives a lack of support
and feels immobile.

feet- when feet are omitted, the child may lack

security and feel helpless.

nose- the nose is often viewed as a symbol of

* There are no legs or feet in
power-striving and, if it is omitted, the child may this drawing. The artist said the
feel powerless. Asthmatics may omit the nose. girl in the picture represents a
girl who has no hope, like her.
mouth- omissions of this organ of
communication may suggest difficulty in relating
to others. Some asthmatic children may omit
mouths from their drawing.

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Teeth Teeth represent aggressiveness. While some

aggression may be considered normal, teeth may
represent abnormal aggression.

* The large teeth in this drawing

are suggestive of aggressive
behavior.
Sex Organs When sex organs are drawn, they may be
considered indicators of aggressiveness. Koppitz
(1668) often found genitals in the drawings of
severely disturbed children. Genitals relate to
acute body anxiety and poor impulse control.

Colors Red- may be related to violence or excessive

emotions: it has also been associated with
cheerfulness: nursery level children who
emphasized it seem happier, well-adjusted, and
more emotional in their personal reactions.

Yellow- suggestive of hostility, dependency, and

infantile behavior. Yellow used with green to
depict grass or a landscape is considered normal.

Orange- often suggests a good relationship with

surroundings; may suggest areas of discomfort.

Blue- controlled reactions and self-restraint.
Green- similar to blue, represents controlled
behavior. If blue and green are used together, it
may indicate that the child feels secure.
* The use of green and blue in
this drawing are suggestive of a
clam state of mind.

Black- controlled reactions, intellectual and/or

compulsive.

Brown- timidity; may be used in times of

regression. Brown and black used together may
suggest anxiety and depression.

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l
Color Meaning and Symbolism
from www.arttherapybloq.com

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Case Study

Note: The name of the client has been changed to protect confidentiality.

Background
Joy is a 7-year-old girl who was referred for therapeutic counseling due to physical and
psychological abuse perpetrated by her father. She disclosed to a teacher that her father often
beat and kicked her in the stomach. With the support of the City Social Welfare and
Development Office, she was removed from her home and placed in a residential shelter. Her
immediate family is unsupportive of her claims against her father.

Interventions
While living at the cente~ she was provided daily basic needs, schooling and therapeutic
interventions.
To supplement her individual therapy sessions} the client attended bi-monthly group art therapy
sessions with her co-residents. The activities emphasized self-development} cooperation and
healing.

Yin-Yang (pictured left)

During the creation phase} Joy listened to

all instructions and finished her artwork.

She was unable to process her output. She

was unresponsive to both the counselor

and group members when asked questions.

Family Outing (pictured right)

Although Joy did not interact with group
members} she was able to process the
artwork with her counselor. When asked
where she is in the drawing, Joy pointed
to the girl in the square. Her family is in
the center of the drawing, separate from
her. This drawing shows her detached
feelings towards her father, mother and
two siblings who are drawn around the
heart.

17

I
Mandala (pictured left)

t Joy processed her artwork with the group.

She disclosed that she enjoys using art to
express herself. In her drawing, the blue
r represents sadness while the red stars
and circle around the outside represent
l happiness. She is feeling sad on the
inside, but knows there is some happiness
[ in her life evidenced bv the red outline.

Breaking Down my Problems into Bite-Sized

[ Pieces (pictured right)

The client concentrated on the activity,

t listening to the counselor and following all
instructions. When asked jf it is easier to
handle problems one at a time or all
t
together, Joy stated that it is better to break

down your problems bit by bit so they are

easier to manage.

Boat Drawing (pictured left)

...
Joy was able to relate the boat to her life.
She named the boat after herself. The
client disclosed to the group that she is
sailing towards happiness, to Manila with
her friends. She is ready to accept her
traumatic past and move towards a
brighter future.
Assessment

Through group art therapy, Joy began verbally expressing her feelings and emotions. She
developed a strong rapport with her co-residents, as they shared common experiences of abuse
with one another. During the first two sessions, she was hesitant to share with the group. She
joined in the processing by the third session. The fourth and fifth sessions focused on
addressing her problems and looking towards the future.

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Elements of Art

Rationale

This activity introduces the basic elements of art to participants before beginning an art therapy

curriculum. It allows children to feel more comfortable drawing and creating.

Materials

paper, pencil, crayons, etc.

Procedures

1. Introduce each element of art one at a time while showing an example.

Une: is alive! Lines have an infinite number of qualities that learners can use to describe and
express what they see, imagine and feel about their world.
Tone: creates shapes and moods by contrasting light against dark. White against black is the
strongest tonal contrast and the many tones in between create different shades of grey. All
colors have a range of tones from darkest to lightest.
Color: is magic! Colors can be used to describe or express what learners see or imagine and
feel about their world, either in a real-life way or freely and expressively.
Shape: is everywhere! Learners should discover some of the many different shapes found in
nature or in the built environment (manufactured) through careful observation and
exploration using various senses.
Space and Dimension: perspective or sense of three dimensions (depth or distance) created
on a flat surface (e.g. on a piece of paper) by using lines, tones and colors etc.
Texture: is used to describe or express the feeling of a surface e.g. smooth, prickly, shiny, etc.
Pattern: repetition of lines, shapes, tones, colors, textures, etc. to create a two or three­
dimensional visual effect - it links with rhythm.
Rhythm: the flow or sense of dynamic movement created by art elements such as lines,
shape, colours etc that "lead the eye" around an art work.
Contrast: any or all of the art elements can be contrasted in different ways to create richness
and diversity.
Composition: is how the artwork is arranged and is closely related to the way in which all or
some of the art elements are used.

2. Have the participants draw each element.

19

l Unes. Practice drawing the different lines below.

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Tone. Using only a pencil, try and copy the following tones.

20

Color. Try making secondary colors by mixing two primary colors together. Try making tertiary
colors by mixing a primary and secondary color together.

primary

secondary

tertiary tertiary

primary prJmary

secondary

Shape. Identify the different shapes that are used in the drawing below.

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21

[ Space and Dimension. Try and recreate this 3-dimensional box.

[ .

[ Pattern. Copy the following pattern.

Put it Together. Using the basic elements, try and draw a leaf. Be sure to include different lines,
tones, colors, shapes and patterns.

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ARTTHE PY

ACTIVITIES

Remember:
adapted from a lecture given by Arnold Allan Lumbao at the 2011 Parents Congress in
Baguio City

::::> apply mirroring/reflecting skills

::::> distinguish between a child expressing though art and a child acquiring art skills
(refer to development chart)

::::> avoid giving value judgments or labels; describe the art with the child

::::> if asked for feedback, express what feelings are evoked in you

::::> get comfortable with content that may be negative or shocking

::::> provide materials for diverse expression; to express is a basic psychological need

::::> avoid asking too many questions and overanalyzing the artwork

::::> have fun, join in the creation phase with clients

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r
[
[
[ These activities can be used to help establish a relationship between the participant and
I
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facilitator as well as strengthen the relationship between multiple participants in a group. I
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They introduce art therapy to children who are unfamiliar with using art as a creative outlet.
________________________________________________________________________________ ~
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Scribble Chase 1

r Rationale

lee breaker, loosens up participants.

[
Materials

white board, board markers

Procedures
1. Choose a leader.
2. The leader starts a scribble by drawing one line.
3. Leader stops scribbling. Another group member continues drawing from the same line.
4. Continue until everyone in the group has added to the line.
5. Each person should identify an object within the scribble.
..: :; : :: : ..
: .. : .. : : : .. . ..
: : : :. :: : :: : . :: .:: . .. .
:: ::: .:: : : :
~ : .:: : .. : . :: .: .: : :" : : :. : :: : .:: :: . . .. .. : .: ::
:: : : : : : ~ : : .: : .: : .

Scribble Chase 2

Rationale

Establishes trust, promotes cooperation.

Materials

2 pieces of paper, markers, crayons

I _.

Procedures
1. Break group members into pairs. Choose a leader and follower. The leader and follower
should choose a different color to represent them.
2. The leader begins to draw lines across the paper.
3. The follower will re-create the lines drawn by the leader.
4. Reverse places, have the follower start and the leader follows.

24

Name Monster

Rationale
loosens up participants and allows them to feel comfortable creating art.

Materials
paper, chalk or oil pastel, black marker, colors

Procedures
1. Fold paper in half lengthwise and crease.
2. Open back up and write your name in cursive (important) large enough to take up most of
the paper.
3. An adult can write it for the child if necessary.
4. Trace the name heavily with chalk or pastel in a color that will show on the paper.
5. Refold the paper on the crease and rub over the paper with the back of a spoon or stick.
6. Check inside to see if the name has transferred onto the other side of the sheet. If not, keep
rubbing.
7. Open sheet and trace over the name with a black marker.
8. Color in the shapes with different colors.
9. Usually there will be shapes that suggest eyes (maybe more than 2!) and an antenna.
10. Add whatever you want to your alien.
11. Make another one, but this time turn it upside down and make the other end the head.

25

r
[ Rocket
Sara Crafton
[
Rationale

I The rocket activity offers a nonthreatening way to develop rapport with a client, learn about
valued relationships and become aware of personal attachments.

[ Materials
large sheet of paper (rocket outline may be drawn by therapist when appropriate), markers or

r crayons

Procedure
r
1. Direct the client to draw the outline of a spaceship. Explain that the client is going to take an
imaginary trip to the moon.
r 2. Ask the client to draw 2 seats within the rocket and explain that he/she may take one person
with him/her. Ask the client to draw themselves and"the person chosen to accompany him/her.
3. Explain to the client that they may take 3 favorite personal belongings on the trip. Encourage
the client to draw these items within the rocket.

Adaptations
Sing this song before the activity to energize the participants:

(participants repeat each line after the leader)

rsaid a Boom Chicka Boom

I said a Boom Chicka Boom
I said a Boom Chicka Rocka Chicka
Rocka Chicka Boom
Uh huh
Oh yeah
One more time, Astronaut Style
I said a Zoom to the Moon
I said a Zoom to the Moon
I said a Zoom, Take-a Rocket,
Take-a Rocket to the Moon

26

 Art assessments are used to determine the strengths, weaknesses, emotional and cognitive
development of clients. A Licensed Art Therapist usually administers these assessments.
Social workers, psychologists, and mental health professionals can also administer these tests
as long as they are not used in court or interpreted for diagnostic purposes.

Ulman Personality Assessment (UPAP)

AgeJl (1989) & Ulman & Dachinger (1975)

Rationale
The UPAP is a projective assessment that provides information about the personality and
emotional status of an individual.

Materials
construction paper (4 pieces), pastels, tape, stopwatch

Procedures
1. Draw anything you would like on one sheet of paper.
2. On the second sheet of paper, draw large scribbles with the chalk pastels.
3. On the third sheet of paper, with your eyes closed, draw a large scribble. Put the paper on
the floor. Ask artist to find an object in scribble.
4. On the forth piece of paper, make a picture from the found scribble image.

Processing
Put all four drawings up on a wall. The evaluator sits next to the client, facing the drawings. The
evaluator asks the client about their associations, ideas, feelings about the individual drawings
and the collective series of drawings.

Look at use of color and line quality, and not how easy it is for the person to work abstractly. Is
it easy to for him or her to find images in scribble? What is the content of free drawings? Look
at whole picture that emerges from the series of drawings.

27

LECATA: Levick Emotional Cognitive Art Therapy Assessment

Levick, M. (2001)

[
Rationale

r The LECATA measures the emotional and cognitive development of an individual. It is based on
Piaget's cognitive stages of developments and Freud's psycho-sexual stages of development.

[
Materials

drawing paper, oil pastels, pencil and eraser upon request

r
Procedures
[ The following script should be used to introduce the drawing tasks:

What you will do today is like a regular test but there are no grades and no rights or wrongs.

You will have one hour to do five drawings using pastels and this paper. When you are finished

with9 each drawing, please write a title on the paper.

It is important for the evaluator to keep the administration of the following tasks as consistent

as possible. The LECATA consists of 5 drawings:

1. Free drawing task and creating a story about the free drawing.
2. Draw yourself as a whole person.
3. Make a single-color scribble. Create a picture from that scribble.
4. (3-5 years old): Draw a place you'd like to be. (6-11+ years old): Draw a place that's important
to you.
5. Family drawing.

Processing
The free drawing serves as a baseline to look at overall psychological view of child. The story
should reflect the ability to experience a variety of emotions. The person drawing reflects the
client's self-perception. The scribble drawing evaluates the client's ability to resist regression
and think abstractly. The place drawing represents how a client perceives his or her
environment and may contain information about what the client values. The family drawing
provides information about the client's familial relationships. It is most important to look at all
of the pictures together to see the larger picture about where a child is emotionally and
developmentally.

28
Nest Drawing
research by Donna Kaiser

Rationale
Through the bird's nest, children communicate their perceptions and expectations about
available care, nurture and relationships with caregivers.

Materials
paper, pencil, eraser, colored pencils

Procedures
Ask participants to draw a picture of a bird's nest. If they ask what to include or any question
reply, "You can draw the picture anyway you would like."

Processing
How many birds are present in this picture?
Where did you place the nest, why?
Do you see your family in this drawing?

* Ifthere are only baby birds present in the picture this may represent feelings of insecurity and
abandonment.

* If the nest is draw without any birds in it this can represent a feeling of no connection with
family.

* The following suggest feelings of a secure home:

- A nest drawn high in a tree. .---------------.~----

- Use of 4 or more colors.
- The entire tree is drawn.
- The dominant color used is green.
- The entire bird family is depicted.

:1/ '
"

29

l
[ Volcano
research by Carol Thayer Cox
[
Rationale
This activity explores the relationship between imagery and the emotion of anger by studying
l the image of the volcano as a symbol of tension versus distension.

Materials
[ paper, markers, crayons, pastels, etc.

Procedures
f Participants are asked to "Make a picture of a volcano using the materials provided." Do not
provide any additional prompts.
[
Processing
Where is your volcano located?
[ Is the volcano erupting? About to erupt?
What colors did you use in your drawing, what do you think they represent?

l ... Adolescents who include skies in their volcano drawing typically have less anger.

[ ... Addition of animals and birds indicate lower levels of anger temperament.

* Inclusion of smoke indicates a higher anger reaction level.

... Lava sputtering in short bursts represents low anger while an explosive burst of lava indicates
a higher level of anger.

30

Draw a Person in the Rain

Verinis~ J.S.~ Uchtenberg~ E.F. & Henrich, L. (1974)

Rationale
The DAPR is an adapted form of Machover's Draw-A-Person assessment (1948). The DAPR
focuses on a person's vulnerability, environmental stressors, supports and coping strategies.

Materials
paper, pencil, eraser, colored pencils or markers

Procedures
Instruct the participant to, "Draw a picture of a person in the rain."

Processing
Who is the person in the draWing?

Is the rain strong/weak?

What kind of protection does the person have from the rain?

Can you think of a time when you got caught in the rain? Explain.

*External stress is reflected by the amount and intensity of the rain.

*The c1ienrs methods of defense are represented by the protective gear~ or lack thereof.

* If no protective gear is drawn, the client may feel that he/she is not coping well with stress.

31

l
t
l These activities help promote self-confidence through the exploration of individual strengths
and weaknesses. They aim to help youth develop a healthy attitude and love for themselves
and those around them.
t"
Inside/Out Box
r
Rationale
People see us differently than we see ourselves. This activity helps to explore the
[ similarities/differences between worldviews and personal insights of oneself.

Materials
f paper, crayons, markers, tape, origami box instructions (on the next page), magazine clippings
(optional)
( Procedure
1. Create an origami box out of two paper squares.
2. On the inside of the box draw images that represent how you view yourself.
3. On the outside of the box draw images that represent how the world sees you.
4. Add colors/designs to the box that are representative of your inner and outer world.

Processing Questions
Describe the images you drew on your box.

How are the images different from the inside and the outside?

Are there any images you wish to change?

What colors/designs did you use on your box?

32

Origami Boxes
From Designer Julia Andrus©2004 Use heavy card stock paper
Box Lid: 12" X 12"' squQre
Box Base: 11 1/2" x 11 112" square

-
Step 1: -ghdy dr:Jw Step 2: Fojd each come< Foid rJr.es
pencillil1es from comer to the center mark to crease
to oposlte Cu"1!ler 0:1 the & unfold
~ack. side· the ')(' is the
cer.ter poinl

- -
Step3: Fold eacr. po-nt to fold lines Step 4: Fo:d each tip 10 the Fold Iirles
the opp~site fol:! ~ne to crease ne.a rest fel d 10 ere ase

Step 5: Cut 4 slits from

Step 6: FO.d !tie mangles sltirung wilh
!he outsi~e to lhe ceme,
the -ps and again on !he n~ fo:d.
square, as shown.
Fold these :eces up te 'form
There will be 2 narrow
the box.
arrow shapes and 2
" lriao1gle shapes

Step 7: Fold the arrows into the

Cox lO fir.ish

33

f Spill Journaling
Sara Crafton
[

Rationale
This intervention helps to identify the essence of a stressor or obstacle. It is freeing,
encouraging a sense of play and may help a person to distinguish true desires from outside
expectations. It stimulates the creative "flow" and helps inhibited individuals to approach art
l more confidently.

Materials
f
Different colored papers, stack of recycled magazines, pens, glue sticks, scissors, any other
media as desired.
r

Procedure
1. Choose a magazine and flip mindlessly through the pages, tearing out up to seven pages of

interest. Try to avoid over-thinking this process.

2. With the same mindless intention, go through the chosen pages and tear out the word(s),

image(s), and/or pattern(s) that attracted you to the page.

3. Now use the selected torn words, images, and patterns to create a collage on the cardstock.

Leave as little or as much space as you like for journaling.

4. Journal with, around, and/or over the collage using stream of consciousness journaling

(freely writing what comes to mind without judgment or analysis). Spill your thoughts onto the

page, and feel free to add other artwork or doodling if desired.

Continue onto step #5 or stop here (depending on time and objective).

5. Repeat the process, only this time, take your time. Instead oftearing, use scissors to cut out

words, images, and patterns. This second collage may be more methodical, orderly and

intentional.

Processing Questions
Compare and contrast the process of steps 1-4 with step 5.

How did the final products vary?

Was there a common theme between the two collages?

Additional Journaling Prompts

=> your favorite song/poem => your inner goddess/warrior

=> self portrait => something/someone you miss
=> dreams => something you are scared of
=> using on Iy your favorite color

34
Mandala

Rationale

The shapes and colors used in a mandala are representative ofthe inner-self. A child's true
emotions will be reflected in their mandala.

Materials

circle outline, markers, crayons, pencils

Procedures

1. Introduce the meaning behind the mandala to participants.

*The mandala (Sanskript for "circle" or "completion") has a long history and is recognized for its
deep spiritual meaning and representation
of wholeness.

2. Let participants create their own mandala

using only the basic outline of a circle. They
can use different colors, patterns, words or
shapes to decorate the inside of the circle.

Processing

What colors were used in your creation and

what emotions do they represent?
How do you think the mandala is
representative of who you are?

* A detached circle represents insecurity and

low self-esteem.

35

r
l Mask

Rationale
r Masks allow participants to explore a different side of them and express emotions they
normally hide from the outside world.
[
Materials
I balloon, newspaper, flour, water, paint and paintbrushes

Procedure
[ 1. Show pictures of different masks from around the world and what they represent to various
cultures.
[ 2. Ask participants to think of a mask they would like to create that represents them.
3. Blow up one balloon per participant.
4. Mix the flour and water together to form a paste.
5. Dip thin strips of newspaper into the paste and place them on one half of the balloon. Be
sure to smooth out all the bumps that may appear.
6. Add 4-5 layers of newspaper.
7. Once the newspaper is dry, pop the balloon and cut the jagged edges to form the shape of
the mask. Cut eyeholes at the top.
8. Decorate the mask.

Processing Questions
What did you use to decorate your mask?

What does your mask represent?

What is the name of your mask?

Does your mask have special powers for the person wearing it?

Adaptations
Use old paper plates as the face of the mask. Decorate the plate with yarn for hair and colored
papers/markers for the face.
I·

I
: ._~

36

living Tree
May Bleeker as published on doorway-to-self-esteem. com

Rationale
This activity aims to increase self awareness. Getting to know yourself better is good for
building self esteem.

Materials
paper, markers, colored pencils, crayons

Procedure
1. Draw the outline of a tree leaving room for branches and roots.
2. Draw one root for each grandparent, parent, and caretaker in your life.
3. Each root should have a small picture representing the person it belongs to.
4. Draw one branch for each of your family members including brothers and sisters, friends,
aunts and uncles, etc.
5. On the side of each branch draw a little picture to represent the person it belongs to.
6. Draw a flower for each thing in your life that makes you feel good about yourself. Draw a
little picture inside each flower of the thing that makes you feel good.
7. Draw a leaffor each significant event in your life. A significant event is anything that
happened that changed you or your life in some way. Draw a little picture inside each leaf of
the important event.
8.Draw a fruit for each of your achievements no matter how big or small. Inside each fruit draw
a little picture to represent your achievement.

Processing Questions

Use one word to describe your tree.

How would you describe the trunk? What does it look like?

What did you feel when you drew the pictures for the roots?

What memories came up while drawing the pictures for the leaves, flowers and fruits?

Did drawing any of the pictures make you see something new about yourself or your family?

Is anyone or anything missing from your drawing?

Is there anything in your drawing you didn't really want to add, but did?

Are any ofthe pictures much bigger or smaller than the rest? What does this mean to you?

fI ."" I

37

[
[ Yinl
Yang
[
Rationale:

[ The yin/yang represents both positive

and negative aspects of a whole. The yin
(negative) and yang (positive) cause
[ everything to happen. They are not
completely black or white, just as things
[ in life are not completely black or white
and they cannot exist without each

l other.

Materials
crayons, markers, paper

Procedure
1. Have participants think about positive and negative things in their lives. For example: friendly
(+), bad grades (-), sometimes gets angry (-).
2. Have them draw the outline of a yin-yang.
3. Ask participants to fill in at least five positive things about themselves on one side of the
yin/yang.
4. Repeat on the other side, adding five negative things about themselves.
3. Present their finished work to the group.

Processing Questions:

Was it easier to think about positive or negative things about yourself? Explain.

Can some of the positive characteristics also be considered negative?

Can some of the negative also be considered positive?

Do you have any similar characteristics with your group members? What are they?

38

Hand Drawing

Rationale
The process of this activity allows clients to focus on attention to detail and their individual
uniqueness.

Materials
paper, pencil, charcoal, eraser

Procedure
1. Looking at your less dominate hand, draw the outline of your hand.
2. Look closely at your fingerprints, wrinkles, the lines of your hand and sketch them.
3. Add color if you would like.

Processing Questions
Was it difficult to get all the details of your hand in the drawing? Explain.

How does your hand represent you as a person?

Fingerprints are unique to every person. How do your fingerprints make you different from

others?

Did you draw any jewelry or scars on your picture? What do these represent to you?

39

[
Boat Drawing

r. Rationale

All forms oftransportation are coming from somewhere and going somewhere, which is
[ associated with a child's thoughts and feelings about what happened in their past and where
he/she is going in the future.

r Materials
crayons, markers, paper, pencils

Procedures
Draw a boat/plane/jeepney, etc. (whatever is appropriate in the child's environment).

Processing
How would you describe this boat?

What does it contain?

Where has this boat come from?

Can you describe the condition it came from?

Where is it going?

Is there any similarity between this boat and yourself? Your life?

40
Future Mel

Rationale

This session helps the client plan for their future. It also serves as a culminating activity. The

facilitator should review the client's previous drawings with them during this session.

Materials

crayons, markers, paper, magazine, paints (allow the client to choose the materials they would

like)

Procedure

Draw a picture of yourself in the future.

Processing

How old are you in the picture?

What are you doing?

Do you have a career? What is it?

Do you have a family?

Who are you with?

41

{
Children who have experienced malnourishment, abuse and neglect often have a difficulty
identifying and expressing their thoughts and emotions. The following activities can be used
[ to help understand different emotions and how they influence our lives. It is important for
children to understand their emotions because they guide our decisions and social
[ connections.

[ Feelings Rainbow

Rationale
Feelings are sometimes connected to various colors. This activity helps participants verbalize
various emotions as well as associate feelings with color.

Materials
Rainbow outline, crayons, markers

r Procedure
l 1. Draw the outline of a rainbow.
2. Color in the rainbow to match your feelings.
3. Include colors for the following feelings: happy, sad, frustrated, scared, angry and proud.

Processing
What color did you choose for each emotion?

Can one emotion be represented by multiple colors? Explain.

42
Feelings Quilt
by Becky Miller as published on sara-crajton.blogspot.com

Rationale
Everyone experiences depression, just as everyone experiences happiness. Some experiences
look similar to others. Some look much different than others. This activity provides the
opportun ity to discuss emotion through metaphor.

Materials
index cards, crayons, markers, hole-punch, yarn

Procedure
1. On one side ofthe card, scribble an image that represents sadness/depression.
2. On the other side, scribble an image that represents happiness.
3. When everyone is finished, lay cards side by side in a quilt-like pattern. Each person chooses
which side is exposed and where to place his/her piece.
4. Tie together.

Processing
Which side did you decide to expose?

Was there a reason why you chose to place the piece where you did?

Describe your sad side.

Describe your happy side.

How are you feeling today?

Notice which side is scribbled with more emotion.

What colors were chosen?

43
[
[ Bridging Emotions
by Eileen Estes
[~
Rationale
This intervention increases awareness of client's internal and external supports. The focus of
r the activity is not on "why" the client is experiencing mad, sad, or scared emotion, but rather
on what he or she can do to move toward more pleasant emotion.

r Materials
paper, drawing utensils, colored pencils or markers

l Procedures
1. Fold paper into 3 equal sections.
2. Choose a feeling to focus on: mad, sad, or scared.
3. Write that word at the top of the left column.
4. Contemplate the opposite emotion, and write that word at the top of the right column.
5. In the center column, draw a line, representing a bridge that connects the left column to the
right column. At the top of center column, write, "What I do for myself."
5. Above the bridge in the center column, make a list of things I do for myself to move from
mad, sad, or scared state of mind into a more peaceful, glad, content, etc. state of mind.
6. Under the bridge, write, "What others do for me?"
7. Make a list of specific supports.

*If client cannot think of a supporter, help him or her to understand that the process is ongoing
and the list can be amended next time. "Stranger" supports count, too.

Processing
What are some of the emotions you are experiencing right now?

Is there anything you can change right at this moment?

What should your next step be?

44

Today I Feel _ _

Rationale
Normalizes and shows children that everyone experiences a variety of feelings and emotions,
even within the same day.

Materials
feelings chart} manila paper, pencils, markers, crayons, colored paper

Procedures
1. Print out the feelings chart on the following page.
2. Discuss the differences/similarities between the ten feelings.
3. Hand out 1/2 sheet of manila paper to each participant.
4. Have them recreate the chart, drawing their face experiencing each emotion.
5. Each client should cut out a star from the colored paper.
6. Ask them to place the star on the face that depicts their current feeling.
7. Hang their charts up and encourage participants to change the location of the star depending
on his/her mood.

Processing
Was it difficult drawing each emotion? Why?

What faces look similar? Are the emotions similar?

Look in the mirror, which face looks similar to yours?

What feeling do you experience the most? The least?

Adaptations
Instead of haVing each participant draw their face experiencing each emotion, take a picture of
them acting out each emotion and print them out.

45
l
(

This
•
I s
[
Mad o
l I

today

46

This is Me _

Rationale
This activity shows participants that everyone experiences a variety of emotions. People are not
always happy or sad. Through processing, the facilitator is able to understand what triggers
each emotion within the client.

Materials
8 1/2 X 11 paper, drawing utensils

Procedures
1. Fold the paper into 4 sections.
2. Draw lines along each crease, creating four sections.
3. At the top of each section have the client label four different emotions. Examples include
happy, sad, proud, angry, frustrated, excited, scared.
4. Below each labeled emotion, instruct participants to draw a picture ofthem experiencing
that emotion.

Processing

Is it difficult thinking about or coming up with different emotions? Explain.

What is the event happening in the background of each of your pictures?

When you feel each emotion, who are you usually with?

,.

Feelings Journal

Materials
20 sheets of 8 1/2 X 11 paper and a stapler (or a notebook), drawing utensils

Procedures
1. Fold the sheets of paper in half, staple along the folded edge to create a notebook.
2. At the beginning of each day, identify your current feeling and create an image that
represents that feeling.
3. Bring the journal to group sessions so you can share.

* Allow group member to share their journals during the beginning of each session.

47

[
Children who have experienced trauma include survivors of abuse, children who have lost a
[ loved one, neglected children and children of war. The following activities can be used to help
I children verbalize and process traumatic experiences. The topics are sensitive, a strong
therapeutic rapport must be established before attempting to facilitate these sessions.
[ Th rough processing of these activities, children learn appropriate ways to heal from their past
J

I
I experiences so they can lead healthy lives. If a client mentions trying to hurt themselves or
r Family Outing
someone else, seek professional help.

r Rationale

Through this drawing, children are able to express their true feelings towards family members.

It gives both the client and facilitator insights into who they feel are important people in their

lives.

Materials

coloring materials, pencils

Procedures
Ask participants to portray their own family (parents, other family members) engaged in an
activity.

Processing

What is your family doing?

Who is in the picture?

Where are you in the picture?

Is this an activity your family usually does or a make believe activity?

* If the client is not present in the drawing, this can be an indicator of low self~esteem.

* Is there anyone in the drawing that appears to be an outsider (drawn smaller than everyone
else, farther away from the others)? This can symbolize distant feelings.

48
Transformative Self Portrait
as published on arttherapyblog.com

Rationale
People tend to go through many changes and transformations in life. It's important to reflect on
our experiences and how they affect one's self.

Materials
three sheets of paper, pencil, markers, pencils

Procedures
1. Think of an experience or event from your past that still has a negative impact on your life
today. It could be something big or small, recent or long ago. Think about what happened, how
the event(s) played out, and how it affects you today.
2. Create a self-portrait based on yourself at that time of the event.
3. On another sheet of paper you will create another self-portrait, but it will more of a
traditional self-portrait in the sense that your creation will reflect yourself as you are today.
4. On a third sheet of paper, create a drawing of the "future you," how you see yourself in the
future.

Processing
What kind of transformation can you see in yourself when looking at the three different

pictures?

How did the first image affect the second and third image?

What steps do you need to take in order for the "future you" picture to become a reality?

49

r Typhoon Drawing

!
Rationale
Typhoons are prevalent here in the Philippines and can have a traumatic impact on children.
This activity helps not only to heal from a typhoon experience, but aids in preparing for one.
r
Materials
[ crayons, markers, paper

[ Procedures
1. On one side of the paper, draw what happens when a typhoon hits.
2. On the other side, draw how you can help others during and after a typhoon.
[
Processing
What are the scariest things that happen to you when a typhoon hits?

How do you fee! inside when the typhoon comes (angry, nervous, excited for school to be out)?

Do you feel in control when a typhoon is approaching?

How can you find more information on typhoons?

What Happened to Me

Rationale
This activity should only be used once therapeutic rapport is established. It allows clients to
express their emotions and release the negative feelings they have towards past abuse/neglect.

Materials
crayons, markers, paper, magazine, paints (allow the client to choose the materials they would
like)

Procedure
1. Ask the client to think of a time when they felt neglected/abused.
2. If they feel comfortable, have them express that feeling through art (they may use any
materials).
3. After processing the artwork, allow them to tear up the drawing if they would like to.

Processing
When you look at this picture, how do you feel?

Was it difficult creating your image? Explain the process.

Would you like to destroy/tear-up this image?

50

Saying "No" and Setting Boundaries

Rationale
This activity gives participants an opportunity to practice saying "no" and reflect on their
experiences of peer pressure and abuse.

Materials
large cartolina, black marker, crayons and colored pencils

Procedures
1. Participants will write the word "HINDI" in block letters across the cartolina. The letters

should be large and outlined in the black marker.

2. Ask them to think about things in their lives they should say no to. For example; smoking,

staying out late with friends, being asked to perform sexual acts.

3. Have them write the examples inside the "HINDI" letters.

4. Ask them to think of ways to refuse the examples they came up with.

- just say "no"

- "I can't go out with you tonight, I have to study"

- run away

- "I don't like smoking, it's not healthy"

5. Write the different ways to refuse outside the block letters.

6. Have the participants partner off.

7. Ask one ofthe partners to read an example on the inside. The second partner will read one

ofthe responses on the outside. Repeat until all the examples have been read out load.

Processing
Is it difficult refusing something your friends ask you to do? Explain.

How do you know when to say "no"?

If you need to get help after saying "no" where can you go?

Do you have any experiences saying "no," what are they?

51

Poem

l
Rationale
The therapeutic use of literature as healing is called "bibliotherapy." Through poetry, children
[
find a way to work through their grief. It stimulates discussion and healing.

l
Materials
poem, 2 sheets of paper per participant, pencils, pens, colored pencils

(
Procedures
1. Read the following poem aloud:
l
Kami ang Bida We are the Stars
by Joaquin Genato published in Munting Tinig, by Joaquin Genato published in Munting Tinig,
Karapatan Nais Marinig Karapatan Nais Marinig

Bawat bata ay mahalaga Every child is important

Sa karapatang pambata With children's rights
Kami ay masaya at kinikilala We are happy and recognized
Sakit at pagdurusa aming nadarama Pain and agony that we felt
Dahil sa bata'y dinidinig na Is now fading away
Because children are now being listened to
Pagwawasto sa maling pag-aaruga
Pag-sagip sa maling pagtitiwala The correction of mistreatment
Tamang pagtataguyod sa mga bata Being saved from dishonesty
Likas na nakakamit sa mga batas The right guidance from children
Na panukala Inherent rights
Written into law
Labis na kasiyahan aming nadarama
Pag-asa at pagtitiwala We are overjoyed
Muling nakita Hope and trust
Pagbibigay kahalagahan sa We see once again
Aming mga bata Giving importance to
Sa karapatang pambata Us, the children
"kami ang bida" To children's rights
We are the stars

2. Review the poem with clients. Discuss the concept of mistreatment and dishonesty.
3. Review children's rights and responsibilities.

52

4. Have participants write their own poems reflecting their rights.

5. Rewrite the finished poems on a white sheet of paper and encourage them to decorate the
paper.
6. If they feel comfortable, allow participants to share their poem with the group.

Processing
Do you have anything in common with the author ofthe poem? Explain.

Was it difficult coming up with a title for your poem?

How do you feel now that you were able to write down your feelings?

Do you feel comfortable talking about your poem?

Adaptations
Use this additional poem to spark more conversation.

Friends
by Gayle as published on www.hopeforhealing.org

Friends come in many shapes

particularly when brought together
by surviving rapes.
We are like the trees
blown and bending by the breeze.
Though they toss
and bend and bow,
they hold fast
deeply rooted in the ground.
Our friends are the support
keeping us from being blown apart.
For in life
we must bend and give
like the trees in the wind.
Our roots support us
drawing in strength,
from friends.

53

[
[
Dream World

r Rationale
The activity empowers participants to create their own existence. They can escape their reality
for a moment and express their wishes.
r
Materials
crayons, markers, paper, magazine, paints (allow the client to choose the materials they would
like)

Procedure
1. Have the participants close their eyes and imagine a dream world.

Guide them through the following imagery:

"Close your eyes and image you are in a beautiful place. Breathe lightly in and out as you image
the place. This place is free of abuse and neglect. No one can hurt you here. You are surrounded
by people and things you love. "

2. Ask the clients to draw a picture of the world they've created in their mind.

Processing
Where is your dream place? Is this a real place? Have you been there before?
Who is with you in your dream world?
Who would you like to be in your dream world? A superhero? Teacher?
What would it take to make this dream place a reality?

S4

 These activities promote group work and interpersonal development. They help children
learn to control their impulses and make healthy choices.

Breaking Down my Problems into Bite-size Pieces

adapted from Chestnut Health Systems Cannabis Youth Treatment Manual

Rationale

To highlight through art that our problems should be handled one at a time.

Materials

flower drawing, pencils, eraser, large art paper, oil pastels, white board, dry erase marker

Procedures

1. Ask group members to raise their hands if they currently have one problem in their lives.
Keep hands up if they have two, three, four, etc. Discuss how it can be overwhelming having so
many problems at one time.
2. Introduce the concept of breaking-down problems, taking them one step at a time.
3. Show participants a picture of a flower and tell them they will draw it. Explain that they will
all break-down the sketch one line at a time so they can all draw it.
4. Draw one line at a time on the board and have the participants copy.
5. Continue until the drawing is complete.
6. Add color.
7. If they are unsatisfied with their drawing, allow them to do it again.

Processing

How did your picture turn out? Why do you think it turned out this way?

If the flower represents the biggest problem in your life right now, what would it be?

How can you break-down your problems?

55

56

Animal Mentor
Elaine Robinson, LCSW

Rationale
The imaginary animal helps you to get in touch with your true feelings about an issue. This
intervention is one that can be revisited independently as needed, and may provide the
participant with an added coping tool for stress management and independent problem­
solving.

Materials
paper] colors, pencil, a relaxing place to draw

Procedure
1. Think of a problem that you are having a difficult time solving/working through/accepting.
Keep that problem loosely in the back in the back of your mind.
2. Now imagine that you are in a beautiful, peaceful place. As you sit in your beautiful place,
you look toward the horizon and notice an animal coming into your vision.
3. Once you notice the animal and it comes closer to you] ask it questions about the problem
you are having. Wait patiently for the animal's response.
4. Draw the animal that helped you through your problem.

Processing

What was your animal?

Were you surprised that that particular creature emerged?

Why do suppose that you chose that particular animal?

Were you surprised at the animal's response to your question?

Was this exercise helpful for you?

Was it difficult for you to allow your creative mind to voice its opinion?

57

I
[
BeautifuI-Ugly-BeautifuI
Liebman, M. Art therapy for Groups
f
Rationale
[ This activity is used to stimulate a discussion about creative problem solving, to bring light to
the positives that a negative situation can bring.
[
Materials
paper, choice of drawing utensils
[

Procedure
1. Each person starts with one piece of paper.
2. Ask participants to think of something beautiful and find a way to represent it with the art
materials in a short amount of time (2-3 minutes).
3. Ask each person to pass his/her drawing to the right.
4. Ask the new owners of the drawings to notice the beauty of the picture. Then tell them to
ask permission from the artist to mess up the picture.
5. The new owner finds a way to make the original picture less beautiful, or ugly.
6. Next the picture is handed back to its original owner. The owner must find a way to make the
picture beautiful once again.

Processing
Describe the changes that this picture has undergone.

How did you make it beautiful again?

What emotions did you experience during this intervention?

Can you think of an example of a time in your life when someone made a mess of something

you had worked hard to "make beautiful"?

What did you do to make it beautiful again?

Did anything positive come from the mess up?

58

Group Poetry

Rationale
When working with groups, it is important to build from the work of your team members.
When every team member adds a line, the poem becomes whole.

Materials
manila paper, pens for each participant

Procedure
1. Fold a large piece of paper into 1-inch sections.
2. Have group members sit in a circle.
3. Choose a leader to start the activity.
4. The leader will start the activity by writing one line in the first 1-inch section. For example,
liThe boy went walking."
5. Once they are finished, they are instructed to pass the paper to another group member.
6. The next group member will write another sentence in the 1-inch section below. Once they
are finished, they should fold the first section down so that only their sentence is visible.
7. Pass to the next group member and continue until all members have written a sentence.
8. Have the leader unfold the accordion and read the entire story out loud to the group.

Processing
Did the poem make sense?

Would it make more sense if you were able to see all the lines that were written?

What does this poem express about the group?

Did the poem follow the idea of the leader (the first line)?

Adaptations
Repeat the activity, allowing the group members to see all the previous lines written. Process
how this output differs from the first output.

59

l
Found Music
adapted from UNICEF-Manila and Department of Social Welfare and Development Healing
[ Module for Parents

I Rationale
Music is an effective means of expressing our feelings and communicating with others. This
activity allows participants to use their creative talents to work within a group.
f
Materials
[
anything in the room which can make sound

r Procedure
1. Divide participants into four groups.
r'
2. Instruct them to look for objects in the room which they may use to make sounds. While they
are doing this, draw a few faces with a number of different expressions on the board.
3. When all participants have found objects, ask them to go back to their groups and compose
music together using the objects. The music they compose should represent one of the faces
drawn on the board.
4. Have each group present their composition to the rest of the participants.

Processing
Did the music your group created convey the emotion you wanted to express?

How can the group improve their output?

Was is easier to create the music when you were alone or in the group?

How did you work with your group to create only one output?

60

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These activities are designed to help adolescents become more conscious of negative
emotions and what triggers them. Children who learn to manage negative emotions are
more likely to decrease the incidence of self-defeating behaviors, increase self-awareness)
develop a healthier self-concept and increase their ability to build positive and healthy
relationships.

Anger Sculpture

Rationale
To stimulate a discussion about anger and identify what triggers it within each client.

Materials
clay} pencils

Procedure
Think about a time when you were really angry. Depict what it looks like (abstractly or
figuratively) with the clay.

Processing
How does the sculpture depict your anger?

Can you think about what triggers your anger (people, situations, places)?

What are 3 things that trigger your anger?

Comparing your triggers with others in the group, do you notice any similarities? What?

What are some ways you can calm down when you are angry?

61

[
[
Identifying Difficult Emotions

l Rationale
To give a visual representation of how difficult emotions affect our lives.
r
Materials
paper, pencil, markers, crayons, dry erase board, board marker
r

r Procedure
1. Write the folloWing emotions on the board: guilt, anger, fear and disappointment. Draw a
simple face depicting the emotion under each.
2. Under each emotion have the group identify a situation when they have felt that emotion.
3. Give each participant a print out of the body outlines on the next page.
4. Under each body, label the emotions.
5. Ask them to color inside the body where they experience each emotion. For example, anger
felt all over. Fear, felt in the fingers.
l

ANGER FEAR

Processing
Where do you experience each emotion?

What are the physical responses of your body when you experience that emotion? Do you

sweat? Can you sleep?

What do you usually do to release the emotion?

62

63

r
[ Letting Go

r Rationale
Through sandplay therapy, children can express and work through difficult emotions non­
[ verbally.

l Materials
tray, sand, miniature toys

r Procedure
1. Place the sand in a container and assorted toys near the tray.
r 2. Ask participants to depict a difficult emotion in the sand.
3. Allow participants to arrange the toys in whatever manner they choose.
r 4. Erase the scene and start again.

Processing
How did you feel as you were playing with the sand?

Was it easy or difficult to erase your depiction? Explain.

Summarize the scene you made in one word.

Adaptations
Add water to the sand to make it moldable.

64

Releasing Anger
adaptedfrom UNICEF-Manila and Department ofSocial Welfare and Development Healing
Module for Parents

Rationale
To stimulate a discussion about the different ways anger affects us. This activity allows group
members to identify the physical signs of increasing anger, both in their group members and
themselves.

Materials
paper, markers, pencils, oil pastels

Procedure
1. Have participants pair up and face one another.

2. Provide the following instructions:

"With your eyes, show anger."

"Aside for your eyes, use your mouth, tongue and teeth to show anger."

"Include your hands to show anger."

"Add your whole posture and stance."

"Add your voice/verbalization."

3. Instruct the pairs to draw a picture of one another expressing anger.

Processing
Where is anger shown the most on your partner's body?
Are there similarities/difference between the physical signs of anger between you and your
partner?
Aside from displaying it physically, what are other ways to release anger?

65

Relaxed and Tense

Rationale
Lets participants feel the difference between relaxed and tense feelings. This activity uses
techniques from drama therapy, the intentional use of creative theater towards healing and
personal growth.

Materials
none

Procedures
1. Ask participants to walk around in an enclosed space. Have them walk normally.
2. Have them image they are angry. Walk around the enclosed space, displaying anger.
3. Return to normal walking
4. Have them image feeling disappointed, walk about the space displaying disappointment.
5. Return to normal walking.
6. Ask participants to image frustration, walk about the space displaying frustration.
7. Return to normal walking.
8. Repeat steps 2 through 7 as desired.

Processing
Did you feel relaxed when you were walking normally?

Can you describe how you felt when you were expressing the difficult emotions?

Did you feel tense?

How can you lessen tense feelings in your day to day life?

Anger Management Tips

=> slowly count backwards from 10 to 1

=> get or give a hug

:::;, pillow fight

=> take a walk

=> sing

=> scribble on paper

66

 Art is a way to work with children who have special needs toward the achievement of eye­
hand coordination, fine motor skills, color recognition, sequential thought, matching, visual
acuity and action concepts. It is important to remember to modify these activities based on
the abilities of the child you are working with.

Leaf by Leaf

Rationale
This activity promotes teamwork and helps develop fme motor skills development.

Materials
markers, crayons, scissors, tape, large tree trunk cut-out

Procedures
1. Post the large tree trunk cutout in the front of the room.
2. Each participant should create their own leaf cutout; designing and coloring it anyway they

please.

*If students can't cut out their own leaf, create one for them and allow them to color it in.

3. Have each member tape his or her drawing to the tree trunk.

Processing
The tree trunk helps the leaves to grow just as a family helps children to grow and develop. Try
and use the tree as a symbol of protection and strength.

67

 Shoe Fish

r
I

l Rationale
This activity allows children to freely express themselves as well as promotes cooperation and

[ teamwork with fellow group members.

Materials
shoes, pencil, paper, crayons, and markers

Procedures
1. Have students take off one of their shoes and trace the bottom of it.
r
2. Have them create fins, gills, eyes, mouth and scales for their fish. Use paper with different
textures if possible.
3. When the drawing is complete have them color with markers.
4. Cut out the fish and glue them onto a larger piece of paper.
5. Add a background.

Processing
What is the name of your fish?

Would your fish like to swim with the other fish created in the class?

*Have the kids hold up their drawings and interact with one another

68

Sponge Art

Rationale
This activity helps kids explore color recognition, hand-eye coordination and development of
fine motor skills.

Materials
scissors, sponge, paper, cartolina, paint, container for water

Procedures
1. Cut sponges into various shapes (squares, triangles, diamonds etc.)
2. Dip sponges in paint and dab them onto scrap paper to remove the excess paint.
3. Use the sponges to create pictures on cartolina, cardboard or other heavy paper.

Processing
What images do you see in your drawing?
What colors did you use?

810ttos

Rationale
This activity helps kids explore color recognition, hand-eye coordination and development of
fine motor skills.

Procedures
1. Cut a number of paper squares and rectangles of various sizes. 5" by 5", 7" x SU, 3" by 2" etc.
2. Crease each paper square in the middle so that later you can fold them easily.
3. Sprinkle a few drops of paint onto one side of the crease.
4. Fold the paper on the creased line with the paint inside.
5. Press down with your hand.
6. When the paper is opened, strange and interesting shapes will appear.
7. Work with the blottos and arrange them into a larger picture, allowing whatever comes into
your mind to take over.
S. Glue the blottos down onto a larger paper if you wish to create a big blotto work of art!

Processing
Can you see any images in your drawing? What are they?

69

l
I Appendix A: Glossary of Terms

Art Therapy: sometimes called creative arts therapy or expressive arts therapy, encourages
r
people to express and understand emotions through artistic expression and through the

[ creative process.

Assessment: used to gain a general understanding of a person's strengths, weaknesses,

[ cognitive and emotional ability.

[ Competency: possessing the required skills, attitude, knowledge and values to carry out a task.

Confidentiality: keeping what is said during art therapy sessions private. Exceptions to
l confidentiality include child abuse or neglect disclosure, serious threats to harm oneself or
another and case management meetings with other mental health professionals.

Diagnostic Evaluation: determines the presence of certain conditions, such as depression,

anxiety, anger control or susceptibility to stress. They include an interview with a mental health
practitioner and one or more formal psychological tests.

Facilitator: the person responsible for coordinating activities and discussion.

Kinesthetic: learning through physical movement or engagement.

Mirroring Skills: copying the actions of the child they are working with. It may include miming
gestures, movements, body language, muscle tensions, expressions, tones, eye movements,
breathing, tempo, accent, attitude, choice of words/metaphors and other aspects of
communication.

Non-judgmental Acceptance: being open-minded and understanding of different points of view,

experiences and life goals.

70

Psycho-sexual Stages of Development: developed by Sigmund Freud. According to Freud, desire

causes us to seek pleasure in different parts of our body during different stages of our
development. Every stage can be characterized by being sensitive in an erogenous zone, or the
part of the body the gives pleasure. If an individual develops normally through a certain stage,
and have been successful in resolving conflict, little desire remains in each stage. However, if
one failed in resolving the conflict in a certain stage, he/she will have the tendency to fixate, or
to stay on that certain stage of development.

There are five stages of psychosexual development:

Stage I: Oral Stage

In this stage, the pleasure giving part is the mouth. Infants, for example, derive pleasure
from their sucking reflex. This is important in developing trust and comfort between the infant
and the caregiver.

Stage 11: Anal Stage

Erogenous zone is elimination of body wastes, both defecation and bladder elimination.
The conflict is in toilet training and the resolution lies on how the parents handle the situation,
whether they will take it positively or negatively.

Stage III: Phallic Stage

The genitals are the pleasure giving parts in this stage as children become aware of their
bodies and discover the difference between males and females.

Stage IV: latency Stage

The erogenous zone in this stage is said to be latent or calm. This is because the libido is
directed into school work, hobbies and activities with peer.

Stage V: Genital Stage

The libido is now directed towards the other person. Its role is also for the purpose of
reproduction. However, the drives are more developed since they allow symbolic gratification
and are not only limited to physical gratification. Symbolic gratification includes love
relationship and family, or acceptance of responsibility associated with adulthood.

Schemes: an organized and thought out design.

71
[
[ Appendix B: Documentation Form
l SAMPLE ART THERAPY SESSION SUMMARY
Client(s) Name: John Aquino; group members (Rusty, Andrew, Mike and Ron)
[ Session Title: Anger Sculpture
[ Facilitator: Sam West
Time:l0am-11am
r Client Description
- physical appearance
[­
- energy level
[
Subjective
- describe the artwork from
l
the child's point of view
- summary of dialogue
[
Objective
- observations about the
l artwork
- note the child's behaviors
Assessment
- interpretation of the
artwork
- emotional and cognitive
evaluation
Plan
-ideas for the next session
- treatment goals
Session Date: September 1, 2011
John entered the session with a smile on his face.
He greeted his fellow group members upon
entering the counseling room.
John disclosed that his sculpture is a reflection of
the anger he has towards his father. When asked
what the color red symbolizes, the client said,
"hatred".
John was quiet throughout the session. He
responded to questions, but did not initiate any
conversation with others. When talking about his
structure, he maintained a neutral demeanor.
The structure he created is made primarily of the
colors red and brown.
John was able to visually represent and discuss the
anger he has towards his father for abusing him
when he was younger. He seemed relieved to talk
about his feelings for his father as evidenced by his
calm demeanor after the processing.
The next activity will focus on exploring and
clarifying the incident of abuse perpetrated by his
father. He will be asked to complete the Family
Outing activity in order to understand the
dynamics of his family members, including his
father.
72

 ART THERAPY SESSION SUMMARY

Client(s) Name: _
Session Title: _

Facilitator: _ Session Date: _

Time: _

Client Description

- physical appearance

- energy level

Subjective

- describe the artwork from

the child's point of view

- sununary of dialogue

Objective

- facilitator's observations

about the artwork

- note the child's behaviors

Assessment

- facilitator's interpretation of

the artwork

- emotional and cognitive

evaluation of the client

Plan:

-ideas for the next session

- treatment goals

73

r
[ Appendix C: List of Resources

[ Books

Art Therapy for Groups by Marian Liebmann

r
Art Therapy with Students at Risk by Stella A. Stepney

L Child Art Therapy by Judith Aron Rubin

[ The Art Therapy Sourcebook by Cathy A. Malchiodi

Websites

The Art Therapy Blog http://www.arttherapyblog.com

Art Therapy Catablog http:L1sara-crafton.blogspot.com

Classroom Activities http:L1www.sitesforteachers.com/resourcessharp/art.html

International Art Therapy Organization's Website http://www.internationalarttherapy.org

KinderArt Website http://www.kinderart.com

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