Course Syllabus
I.
HPC 6370 Intermodal Expressive Arts Therapy (3) Spring, 2011
Dr. Sally Atkins
101B Duncan Hall, (W) 262-6047; (H) 264-1188
atkinsss@appstate.edu,
Office hours: TBA, will be announced and posted.
II.
Course Description
An examination of theories, techniques, and functions of psychotherapeutic
approaches using intermodal expressive arts, emphasizing cross-cultural contexts
of creative expression and human development.
III.
Course Objectives
1. To explore the rationale for and applications of expressive arts therapy.
2. To compare expressive arts therapy with other arts based approaches and with
other theories of psychotherapy.
3. To experience an intermodal, integrative approach to expressive arts within a
learning community.
4. To further knowledge of research and theory in expressive arts.
5. To demonstrate understanding and use of a variety of appropriate therapeutic
responses to creative work.
6. To pursue personal, professional and artistic development.
7. To develop, articulate and demonstrate a personal integrative approach to
expressive arts therapy.
IV.
Course Outline
1. Cultural and historical context of the arts and healing.
2. Research in arts-based therapies
3. Expressive arts and other expressive therapies.
4. Applications of expressive arts in clinical settings.
5. The arts and society: Communal expressive arts.
6. Arts-based research: Art making as epistemology.
Note: All topics in this course are taught from a multicultural perspective, which
emphasizes the differing experiences, cultures, histories, and perspectives of people
from a variety of ethnic, gender, racial, and social class backgrounds.
V.
Class Format/Methods of Teaching
This class will have a balance of content and experiential components, including
lecture, discussion, presentations, small group work, and art making activities.
Imaginative thinking and creativity are encouraged. Personal reflection and sharing
are important components of the course.
VI. Course Requirements
1. Class attendance and participation. (including leading of openings & closings)
2. Reading: Assigned readings, research and original sources book reports
3. Prepare and present in class a review of one empirical study on expressive arts
therapy. Share copies with class.
4. Participation in expressive arts service project (to be announced)
5. Midterm Exam
6. Read two books of your choice from list of original sources enclosed. Submit a
written book report (3-5 pages) on each.
7. Theory of Practice Outline and Presentation:
Part A: 30-minute lecture/demonstration of personal work in expressive arts,
including the following:
Demonstration of how I work.
Principles and attitudes that guide my practice.
Theoretical or philosophical constructs that underlie my work.
Part B: Written outline of above, including APA style references with copies
for class members.
Part C: Professional paper based on Part B, appropriate for publication.
(10-15 pages, double spaced, Times New Roman 12, minimum of 10
references.)
8. Prepare and share artist trading cards.
VII. Grading: Grading in this course will be done on a contract basis as follows:
A-Contract
1. Attend and participate in all classes.
2. Complete all weekly assignments, including research and book reports
3. Participate in one service project, summarized in a one page reflection paper
due the class following the session.
4. Attain an A on midterm exam
5. Submit two written book reports. (See # 6 above.)
6. Theory of Practice Presentation and Paper: Parts A, B and C above, completed
at A level of quality.
B-Contract
1. Attend and participate in classes with no more than one absence.
2. Attain a B or better on midterm exam
3. Complete all weekly assignments.
4. Submit one written book report.
5. Paper/Presentation: Parts A and B above, completed at B level of quality
All work is expected to be carefully and thoughtfully prepared. The professor
reserves the right to raise or lower the contract grade up to one letter grade based
on quality of student work and on class attendance and participation.
VIII. Attendance Requirements
Excused absences for illness or religious observance require written notification
and additional make up work.
“Graduate students are expected to be responsible for regular class attendance. A
student whose attendance in classes is unsatisfactory to the instructor, the advisor,
or the Dean of Graduate Studies and Research, may be excluded from a course, a
final examination, or a graduate program.” A.S.U. Graduate Bulletin, pp. 51-52.
IX. Required Readings:
Degges-White, S. & Davis, N. L. (2011). Integrating the expressive arts into counseling
practice: Theory-based interventions. New York: Springer.
Knill, P.J., Levine, E.G., & Levine, S.K., (2005). Principles and practice of expressive
arts therapy. Philadelphia: Jessica Kingsley.
McNiff, S. (2009). Integrating the arts in therapy. Springfield, IL: Charles C. Thomas.
Weekly assignments from a variety of resources.
Headwaters Appalachian Journal of Expressive Arts Therapy
Two books of choice from original sources. (See Attached)
X.
References: See extensive bibliography in Expressive Arts Therapy: Creative
Process in Art and Life as well as “Review of Concepts” references attached.
Original Source Readings for HPC 6370
The following list contains authors of original works within different theoretical
approaches to counseling and psychotherapy. You are to choose two works by any of the
following authors to read and report on. If you have ideas for authors outside of this list,
please bring in to discuss. For each book, please write no more than 3 pages
summarizing basic theoretical ideas as well as how these ideas can inform the integrative
practice of Expressive Arts Therapy.
Humanistic/ Cognitive Jungian/
Family
Existential Behavioral Archetypal/ Systems
Dynamic
-Carl Rogers
-Victor
Frankl
-Rollo May
-Fritz Perls
-Irvin Yalom
-Abraham
Maslow
-Joseph
Wolpe
-Aaron
Beck
-Albert
Ellis
-Arnold
Lazarus
-Carl Jung
-James
Hillman
-Alfred
Adler
-Harry Stack
Sullivan
-Salvador
Minuchin
-Jay Haley
-Virginia
Satir
-Carl
Whitaker
-Murray
Bowen
EXA
-Paolo
Knill
-Shaun
McNiff
-Natalie
Rogers
-Stephen
K. Levine
Expressive Arts Therapy: Review of Concepts
I. General Concepts
creative process
creativity as a process for therapeutic transformation (may, Jung, Zinker, et.al.)
archetypes, myth, and symbols, active imagination (Jung)
art making as making special, art as biological (Dissanayake)
re-enchantment of art (Gablik)
art as a way of knowing (Allen)
creativity in counseling (Gladding)
centering; therapy as “holding” (Richards)
improvisation (Nachmanovitch)
sensory basis of art making
imagination
artistic product
therapeutic relationship: presence, listening, responding, bearing witness
creating a container for artistic work; setting a frame
attention, inward and outward
intention
aesthetics and beauty
integration, interdisciplinarity
the arts and social change; Tikkum olam
References
Allen, P.B. (1995). Art is a way of knowing. Boston: Shambhala.
Dissanayake, E. (1988). What is art for? Seattle: University of Washington.
Gablik, S. (1991). The reenchantment of art. London: Thames and Hudson.
Gladding, S.T. (2005). (3rd. ed.) Counseling as an art: The creative arts in counseling.
Upper Saddle River, NJ: Pearson Prentice Hall.
Jung, C. Man and his symbols. New York: Viking.
Levine, S.K. (Ed.). (2002). Crossing boundaries. Toronto: EGS Press.
Malchiodi, C.A. (Ed.). (2005). Expressive therapies. New York: Guilford.
May, R. (1985). My quest for beauty. San Francisco: Saybrook.
Nachmanovitch, S. (1991). Free play: The power of improvisation in life and the arts.
Richards, M.C. (1964). Centering in pottery, poetry, and the person. Hanover, NH:
University Press of New England.
Zinker, J.C. (1978). The creative process in Gestalt therapy. New York: Vintage.
Journals:
The Arts in Psychotherapy
Journal of Creativity in Mental Health
Poieses: A Journal of the Arts and Communication
Psychology of Aesthetics, Creativity, and the Arts
Concepts Emphasized by Particular Approaches. Please note: None of these
categories is mutually exclusive. Most approaches make use of concepts of others.
II. Appalachian State University
interdisciplinarity
integrative theory
nature as the model of creative process
ecotherapy
strength-based, assets based approach
daily practice
unity of art and craft
expressive arts in community
cycles of creative process
opening and closing space
crafting of time and space
bodymind
altered state of consciousness
personal authority of the client
personal integration of theory and philosophy
person of the therapist
ritual
References
Abram, D. (1996). The spell of the sensuous. New York: Vintage.
Atkins, S., Adams, M., McKinney, C., McKinney, H., Rose, E., Wentworth, J., &
Woodworth, J. (2003). Expressive arts therapy: Creative process in art and life.
Boone, NC: Parkway.
Atkins, S. & Williams, L.D. (Eds.). (2007). Expressive arts therapy sourcebook. Boone,
NC: Parkway.
Clinebell, H. (1996). Ecotherapy. New York: Haworth.
Degges-White, S. & Davis, N.L. (2011). Integrating the expressive arts into counseling
practice: Theory-based interventions. New York: Springer.
Garrett, J.T. & Garrett, M. (2002). The Cherokee full circle. Rochester, VT: Bear.
Louv, R. (2005). Last child in the woods: Saving our children from nature-deficit
disorder. Chapel Hill, NC: Algonquin.
Mellick, J. (2001). The art of dreaming. Berkeley, CA: Conari.
Richards, M.C. (1964). Centering in pottery, poetry, and the person. Middletown, CN:
III. California Institute of Integral Studies
Multimodal expressive arts
East-West perspectives and philosophies
Integration of psychological theories and arts therapies
Bridging the inner and outer worlds
Consciousness studies
Power of the arts
Healing power of creativity
Creativity and spirituality
Personal arts practice
V. The European Graduate School (Paolo Knill et. al.)
expressive arts therapist as a specialist in intermodality
change agent
intermodal transfer
poiesis
phenomenology
postmodernism
polyaesthetics
architecture of a session
decentering
low skill/ high sensitivity
responding to art: descriptive, aesthetic and artistic feedback
art analog
aesthetic analysis
aesthetic responsibility
rites of restoration
range of play
harvesting
alternative worlding
resource oriented
crystallization
arts disciplines vs. modalities of imagination
image abuse
"the third"
liminal space
appreciative curiosity
therapist as art coach: take one, take two, final take
References
Knill, P.J., Levine, E.G., & Levine, S.K., (2005). Principles and practice of expressive
arts therapy. Philadelphia: Jessica Kingsley.
Knill, P.J., Barba, H.N. & Fuchs, M.N. (1995). Minstrels of soul: Intermodal expressive
therapy. Toronto: Palmerston.
Levine, S.K. and Levine, E.G., (Eds.). (1999). Foundations of expressive arts yherapy.
Philadelphia: Jessica Kingsley.
Levine, E. (1995). Tending the fire: Studies in art, therapy, and creativity. Toronto:
Palmerston.
Journal: Poiesis: A Journal of the Arts and Communication.
VI. Natalie Rogers
creativity as an inherent impulse
creative connection among the arts
safe, supportive space
self-expression
person-centered therapy
therapeutic relationship: empathy, congruence, unconditional positive regard
process oriented
language as a clue for art form
References
Rogers, N. (1993). The creative connection: Expressive arts as healing. Palo Alto, CA:
Science & Behavior..
VII. Shaun McNiff – Lesley University
art as soul medicine
trust the process
shamanic traditions
dialogue with images
activation of creative energy
therapy of the imagination
art-based research
art in the workplace
References
McNiff, S. (1992). Art as Medicine: Creating a therapy of the imagination. Boston:
Shambhala.
McNiff, S. (1998). Art-based research. Philadelphia: Jessica Kingsley.
McNiff, S. (1998). Trust the process: An artist's guide to letting go. Boston:
Shambhala.
McNiff, S. (2003). Creating with others: the practice of imagination in art, life, and the
workplace. Boston: Shambhala.
McNiff, S. (2004). Art heals: How creativity cures the soul. Boston: Shambhala.
McNiff, S. (2009). Integrating the arts in therapy: History, theory and practice.
Springfield, IL: Charles C. Thomas.
VIII. Tamalpa Institute
Movement-based expressive arts therapy
Movement as a metaphor
Body as a metaphor
Life-art bridge
Life/art process
Psychokinetic visualization
Psychokinetic imagery process
References
Halprin, A. (2002). Returning to health with dance, movement, and imagery.
Mendocina, CA: Life Rhythm.
Halprin, D. (2003). The expressive body in life, art and therapy. Philadelphia: Jessica
Kingsley.
Academic Policies Statements
As a community of learners at Appalachian State University, we must create an atmosphere of honesty,
fairness, and responsibility, without which we cannot earn the trust and respect of each other. Furthermore,
we recognize that academic dishonesty detracts from the value of an Appalachian degree. Therefore, we
shall not tolerate lying, cheating, or stealing in any form and will oppose any instance of academic
dishonesty. This course will follow the provisions of the Academic Integrity Code, which can be found on the
Office of Student Conduct Web Site: www.studentconduct.appstate.edu.
Appalachian State University is committed to making reasonable accommodations for individuals with
documented qualifying disabilities in accordance with the Americans with Disabilities Act of 1990, and
Section 504 of the Rehabilitation Act of 1973. Those seeking accommodations based on a substantially
limiting disability must contact and register with The Office of Disability Services (ODS) at
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staff to discuss eligibility and appropriate accommodations.
Absences for religious observances are considered excused absences. Students seeking an excused
absence for religious observances must inform the professor prior to the absence and make arrangements
to make up all work missed.
Inclement Weather:
In case of hazardous weather, the instructor will notify students by email that class will be
postponed. Campus email addresses will be used for all class correspondence.