ABSTRACTS OF THE 1ST ART THERAPY WORD
CONGRESS
MONDAY, 31. MARCH 2003.
SESSION I
Opening Presentations
JOSEPH MORENO
Ancient Roots and Modern Applications: The Creative Arts Therapies in World
Culture
"This presentation will explore the origins of the creative arts therapies in their sources in
indigenous shamanic healing traditions around the world. Beginning with examples in
prehistoric cave art, and continuing with contemporary rituals in native American culture,
in Bali, Kenya, Madagascar, Korea, Greece, Fiji, Turkey, Singapore, Brazil, Peru and
elsewhere, the rich dynamics of these practices will be colourfully conveyed. Supported by
slide and music examples and drawn largely from the presenter's own field research, the
inseparable unity of the creative arts in these traditions will be evident. The current
separation of the arts therapies in the modern western world is regrettable, diminishing the
impact of the integrated applications of the creative arts in psychotherapy. This first
European conference to focus on all of the creative arts lends support towards a greater
cooperation between creative arts therapists of differing disciplines in the future."
HANS-HELMUT DECKER-VOIGT
Between the Chairs - the Position of the Arts in Medicine and Therapy, Example:
Music Therapy
In my Lecture "Between the chairs" I will reflect the different influences on which the arts
between Medicine and Psychotherapy are based.
Very short, sometimes in a bit in a cartoon way, the influences of Medicine, of
psychoanalysis (depth psychology), of humanistic psychology and of learning theories
(behaviourism) are described and seen interdependent relationships. The modern
development psychology is reflected as a new base where the different influences and
backgrounds can meet each other.
DORIT AMIR
Giving Voice to a Voiceless Child – Active Music Therapy with a Girl Who has
Selective Mutism
The main part of my presentation is focused on describing and analysing my work with
Shiran, a 6- year-old girl who suffers from Selective Mutism. I will start with talking about
selective mutism – history, definition, etiology, phenomenology and treatment approaches.
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I will then talk about the essence of music therapy in working with a child who suffers
from SM, the role of the music-therapist and the place of improvisation in working with
SM clients.
Art Therapies
MARZIA MENZANI, ROBERTO BOCCALON, MARIA BELFIORE,
GABRIELLA CASTAGNOLI, PIER LUIGI GAROTTI,
PIO ENRICO RICCI BITTI, SONIA ZANOTTI
Art Therapies and their Depictions: A Research in the NHS in Italy
This paper concerns a research aimed to investigate how professionals within the National
Health Services in Italy depict Art Therapies and Art Therapists.
The research has been promoted by the Association Art Therapy Italian and the
Psychology Department of the University of Bologna, in co-operation with the NHS.
The research’s hypotheses are illustrated with regard to the status of Art Therapies in
Italy. The procedure and the tools, the analysis of data and some of the most significant
results are presented and discussed.
This study represents an important step to develop research in Art Therapies. It offers a
model to investigate the images of Art Therapies that can be extended also to other
national and international realities.
MIRIAM ROSKIN BERGER
Aesthetic and Cultural Roots of the Creative Arts Therapies
In the past century we saw the initiation of the use of all of the arts as therapy in the
United States, Europe and, indeed, across the globe, especially in the psychiatric arena.
Since psychology has often been called the religion of the 20th century, it is logical and not
surprising that music, art, dance, drama and poetry somehow found their place within the
realm of psychotherapy; a place that reflects their ancient roots in human religion.
Although each creative arts modality has its own history, methods and tools, there are core
similarities: Non-verbal expression and communication, and the simultaneous experience
of the symbolic and real levels of human existence.
Focus will be on examples of various art forms or artists demonstrating principles of the
arts as therapy within cultural contexts, and on the development of the individual
disciplines. For dance therapy, one example will be the philosophy of Isadora Duncan.
GERDA DINGEMANN, PETER SUBKOWSKI
The Theoretical Position of Art and Creative Therapy and its Application in a
Hospital for Alcohol Addicted Patients and Patients with Psychosomatic Diseases
The concept of our hospital is based on psychoanalysis with the entitlement to integrate
compatible methods of psychotherapy and suitable approaches. The art therapist originally
had a point of view and a developmental background based on learning theory, creativity
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theory and on a sociobiographical approach. We found out that these different attitudes
can be combined and integrated effectively so that a successful psychoanalytic inpatient
treatment is possible (Subkowski and Wittstruck, 2000).
This presentation focuses on the one hand on the setting of art therapy in the hospital and
its theoretical basis and foundation in the theory of psychoanalysis. On the other hand
does it concentrate on our specific way of working by two case studies:
1. One study explicates the treatment of a patient with a narcissistic personality structure
and a very low self-esteem combined with a rigid superego, which led to a constant
striving for efficacy, for being admired and to the alcohol and drug addiction.
2. The other case study shows a sexually abused patient who developed a bulimic and
anorectic eating disorder and a chronic latent suicidal attitude. Her paintings
demonstrate the development of the transference and counter transference during the
treatment.
In art therapy the patients had the opportunity to express internalised subconscious
conflicts at first nonverbally, then raising them in a further step into consciousness and
language, thus enabling them to realise a better understanding of themselves. The creative
potential was reactivated by making use of different materials. The starting of the artistic
development contributed not only to an immense increase in self esteem but also
functions as a way of enabling patients to cope with problems of everyday life.
Although our therapeutical conception of art therapy does not aim at the promotion of
artists, the case studies may show that an artistic development as a by-product is
nevertheless quite possible and very effective.
VLADIMIR NIKITIN
Plastic-Cognitive Method in Art - Therapy
Plastic cognitive direction in psychotherapy was worked out by the author of this article in
the 90s XX century. The foundation of our research are aesthetic concepts of E.Burke and
I.Kant, dramatical ideas of E.Decroux and S.Volconskij, artistic views of V. van Gogh and
M.Ernst. We carry out research into phenomenology of bodily and plastic moving beauty
working with the concept of “plasticity” as a quality of form.
We think that criterions of personal psychological comfort and psychical healthy can be
external forms of self-expression which can be perceived and estimated with “a scale of
beauty”. This hypothesize is supported by the following postulates:
1. the nature has an aim to create and reproduce perfected plastic forms which are
perceived by an individual as beautiful ones.
2. a man has a philogenetic necessity in unconsciuos choise of preferable object of his
perception according to criterions of beauty.
3. non-verbal forms of self-expression are determinated by contents and state of
unconsciuos complex.
4. a choice of object of its preference with unconsciousness is conditioned by an aim of
wild nature for self-culture.
5. control of mind over character of bodily moving is not absolute but quite conditional.
6. in a process of creative spontanious action quota of unconsciousness in bodily
presentation “Self” is regularly increased.
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7. productive change of consciouness is possible if an individual has a desire for selfculture.
As criterions of beauty of “Self” image we have picked out some psychophysical and
esthetic indexes that are estimated on the base of analysis of theoretical ad experimental
materials by a group of experts of “plastic cognitive movement” laboratory in Moscow
Psychological and Pedagogical Institute.
The object of our therapeutic research are actor’s roles played by participants of artsession in plastic spontanuous action. As usual a leader of seminars defines a theme of
dramatical sketches according to therapy aims. On the base of elaborated criterions of
beauty the actors of “Post-moving” theatrical group from the institute laboratory show
some plastic dramatical performances so that participants of therapeutical session will be
able to structure their perception about “Self” image. At the end of theatrical performance
a psychological aesthetic portrait of each art-session participant is created wth beauty
criterions of non-verbal forms of his self-expression. These criterions can be examined as
indexes of his psychical state and consciousness level of his integral “Self” image.
EMŐKE BAGDY
Relationships Between Ideas of Space, Mental States and Self-perception
Situations During Autogenic Training and in Paintings by Artists
In extreme emotional-affective experiential situations, excessive interpersonal tensions,
interpersonal crises, and life-and-death border situations our idea of space and our selfperception become modified in a specific way. When the conditions of perception change
as a result of too many or too intensive stimuli, or the contrary state of affairs, owing to a
lack of stimuli, or when the state of consciousness alters as during relaxation, in hypnotic
trans-states, in ecstasies, in the state of so-called supra-consciousness or extended
consciousness, the body is experienced as changed both in real space and in the subjective
field of experience.
ZOLTÁN PETŐ
Folk Art and Medical Rehabilitation
The author, with the help of numerous examples from arts, addresses the question of how
to make arts and folk arts an integral part of rehabilitation. His claims, based on workshop
activities, show that traditional and various art forms help the therapeutic process, provide
it with new forms of communication, and release archaic creative powers. They explore
ways of socialisation and help to establish individual and collective modes of corrections.
The various forms of art therapy provide freer forms of self-expression for the patients
and makes their rehabilitation easier.
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SESSION II
Art Therapies
MÁTYÁS TRIXLER
From Psychopathology of Expression to Art Therapy and Art Psychotherapy
After the pioneering research works of Prinzhorn, Jakab and Volmat on the
psychopathological and artistic expression of psychiatric patients, our research interest was
extended also to other areas such as written works and musical endowments.
Beside the collection and evaluation of the graphic products of the patients even
more research activity was invested into the therapeutic application introduced by Irene
Jakab of this peculiar mode of communication. A regular use of drawing as a diagnostic
and therapeutic tool has been developed. In our therapy of psychotic patients at the
University of Pécs we have successfully integrated art therapy. The emphasis was laid on
the self-healing power of creativity, and art psychotherapy where symbolic contents were
explored within the context of the therapist and patient relationship and transference
issues were considered.
We have reported our findings in many lectures, symposia and publications in
Hungarian and in English.
The author presents an overview of these research activities.
DORIS HOLZKNECHT-HOLZHACKER, CHRISTIAN HOLZKNECHT
Pictures have a Purpose, Not a Meaning (Bettina Egger)
We are not satisfied with the attempt to cure sorrow only. We want to help create the
possibility that people become enabled to cure themselves. Consequently each individual is
able to become his or her own (artisan) art master helping them overcome their
psychological problems.
For this purpose an environment is required that recognises the differences of the
individual and confirms the individuality within the community.
Our passion for form is the expression of our longing to shape the world according to our
own needs and wishes and what is even more important to experience ourselves as
meaningful (The Courage to Create, Rollo May 1987).
An atmosphere free from competition and discrimination is the necessary foundation,
where the available resources can come forth and be bundled in the Art Workshop. There
the forgotten and lost energy and creativity and is be made available for everyone in the
group. Through this the group members experience that creative expression is an essential
part of being human.
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DAVID GUSSAK
Making Sense of the Work of the Art Therapist
This paper is a summary of a qualitative study of the work of art therapists. The research
questions used to ground the study focused on the different systems to which the art
therapists belonged, the relationships between the theories to which they subscribed to
how they practiced, and their day-to-day work. Systematic observation and interviews were
used to gather the data, using a grounded theory approach. This study was grounded in
interactionism. Five art therapists from around the United States were chosen for
systematic observation; each was followed and observed during his or her workday, for
one week each. Six additional art therapists participated in open-ended interviews. This
paper will encapsulate this research study, the summarized responses to its research
questions, and its ultimate conclusions.
GILDA S. GROSSMAN
Group Art Therapy Facilitates Coping for
Individuals Diagnosed with Brain Tumors
This presentation will discuss the benefits of group art therapy for individuals diagnosed
with brain tumors. Since everyone in the group was diagnosed with brain tumors the
participants found comfort and support in the homogeneous nature of the group. Each
participant could feel comfortable in relating to the commonly shared symptoms leading
up to a diagnosis, surgery, radiation, treatment, and the impact on life style.
Changes in life style were of a devastating nature since each member suddenly confronted
his or her mortality, real limitations in fulfilling daily responsibilities, potentially terrifying
medical procedures and eventual horrific and physical deterioration.
They found that the members of the group were able to respond with greater
understanding to their daily challenges than family and friends. The art therapy group was
able to contain overwhelming feelings of anxiety, depression and impotency.
The images created expressed the impact of the illness that words could not adequately
describe for the participants. The other members of the group could also relate to the
images that were created, since the artwork of others fostered group participation.
Further, the actual activity of art expression helped some of the more impaired
participants concentrate and focus their energies so that their level of participating in the
group was enhanced, as was their personal functioning for the duration of the session.
The art group was a place where the members felt accepted and not judged; they derived
considerable pleasure both from the art expression as well as the group process; as a result
attendance was usually at ninety percent. At that the same time the structure of the group
permitted more impaired members to participate with the support of the higher
functioning members. The presentation will focus on selected images, which highlight
issues described in the abstract.
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SESSION II
Music therapies
CARLOS EDUARDO CARUSO
The Candombe and Its Relation with the Unconscious Diagnosis By... Poetic
Images!
This article talks about a patient with borderline personality who suffered different
Psychosomatic disorders since his childhood to the present time.
Working with poetry and music (composing a song) helped the client to express their
emotions and negative feelings (moral pain, rage, impotence, and sadness) in a non selfdestructive way as he had been doing until now. It was also possible to make conscious
his unconscious self-perception sensibility. The client chose to work with "Candombe"
(an original kind of music from Rio de la Plata, and one of the historical precedents of
Argentinean Tango) and with "Guajira" (common rhythm to Cuba and other Caribbean
countries).
The case evolution is going to be illustrated with some of the music played along the treatment
(audio-cassette). This presentation may be interesting to Music Therapists, Psychologists and
Psychiatrists that assists clients with borderline personalities or psychosomatic disorders.
AYALA GERBER SNAPIR
Music Therapy in Family Therapy “Now You Must Listen to Me”
In this lecture I will demonstrate the connection between family therapy and music
therapy. I will present two families who are taking part in family therapy that is integrated
with music therapy.
(Video)
I must pay attention to:
1. Myself listening to myself,
2. The other
3. Every other member of the family.
Understanding results from paying attention.
Paying attention itself results from hearing, listening and observing.
Paying attention may seem to be a totally passive state; in fact, it is an extremely active one.
I have chosen to focus on the topic of paying attention because it is essential, in its
presence or absence, to positive communication within the family.
1) Families are different, the musical instruments are unalike and the kinds of music are
diverse and varied. The girl created different families of musical instruments and presented
them using the idea of flow.
2) I will show how music therapy intervened in the family therapy of two different
families, in both of which the familial balance was disturbed, and how music therapy
allowed the creation of a different and positive process.
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HELEN PATEY TYLER
Music Therapy: From Myth to Modern Medicine
The link between music and healing has been known and recorded across cultures and
through the centuries but it is only in recent times that music therapy has developed as a
profession in the UK.
Beginning with the work of Frederick Harford, an early pioneer of music therapy in
Victorian England, this paper will trace the development of the profession over the last
hundred years, up to the present day, when it has received official recognition as a state
registered health profession. It will introduce the work of Juliette Alvin, who set up the
first music therapy training course in London in 1968, followed by an introduction to the
work of Paul Nordoff and Clive Robbins, founders of the internationally -known
Nordoff-Robbins model of music therapy.
The paper will introduce three theoretical approaches which have been influential in
British music therapy:
 The use of the elements of music (rhythm, melody, dynamics, form) in creative
improvisation between therapist and patient,
 The influence of psychodynamic thought on music therapy,
 The research of psycho-biologists who have discovered the innate responsiveness to
sound and music of the new-born infant.
The paper will show how these influences, combined with the historical, cultural and social
developments of the 20th century have been synthesised into the modern profession
which we have today.
In addition, there will be an outline of the curricula of the 7 training courses in the UK
and a brief survey of the current conditions of employment of a music therapist.
Helen Patey Tyler Assistant Director N-RMTC; UK delegate on the World Federation of
Music Therapy Education and Training Committee.
GIULIA CREMASCHI TROVESI, MAURO SCARDOVELLI
Humanistic Music Therapy
Infant psychosis and autism, infant hearing impairments, multi-handicaps (brain damage,
blindness or visual impairments associated with paralysis): how can Music Therapy
contribute?
Pregnancy difficulties and guidance during pregnancy: how can Music Therapy contribute?
Children’s relational and behavioural disorder and learning disabilities: how can Music
Therapy contribute?
Anxiety, stress, difficulties with social skills, adolescent discomfort, psychiatric problems,
coma, terminal illnesses: how can Music Therapy contribute?
ZSÓFIA FEKETE
The Function of Musical Experiences in the Rehabilitation of the Patients in Coma
The music as a medium for communication has a particularly important role in the less
verbally oriented, preverbal state of the human life. Beside the childhood the musical
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sphere is importatnt in the activity of the elderly people as well. The patient in coma after
the brain damage is also in a similar „preverbal”state. Out of the mortal danger the
intensive care is not necessary any more. The patient opens his eyes for some hours but
does not speak yet. The rehabilitation of the patient can start in this so called vigil coma
state in the National Institute of Medical Rehabilitation in the Department of Brain
Damage Next to the physioptherapy goaling the mobilization of the patient, the
stimulating therapy is very important, in this all the patients take part in musical
occupation as well.
The patients consciously don’t remember this period of vigil coma just like the babyhood
is stored in the implicit memory. This is why it is especially important in this
„subconscious” state to attemt communication in the musical language. In the lecture one
case will be presented, in what the patient gets to the verbal state from the nonverbal state,
to the explicit being from the implicit „condition”.
JÁNOS PAP
Symbolism and Acoustics
(Musical Instruments in the Music Therapy)
Traditional musical instruments are characterized by a high degree of unity in form,
material and acoustical content. This feature can be used to reinforce their symbolic
meaning in the music therapy. The symbolism of musical instruments is conditioned by
their cultural context, whereas their „sound-symbolism” is mostly based on physical,
biological and physiological laws.
The special instruments used in music therapy feature greatly varied acoustical parameters
which serve an important purpose: the patient and the therapist can better express their
nonverbal messages. So the simplicity of these instruments is useful only at the beginning
of the active musical communication. When planning and building new instruments, we
must strive for free and relatively easy playability of these acoustical parameters, for the
expressiveness of the instruments, and for the preservation of their archetypal and archaic
symbolic contents.
CSABA LÁSZLÓ DANCZI
Musical Space Revisited
Among ancient Greeks, many subscribed to the notion of the Pythagoreans, that is, Music
is a reflection of the universal harmony (Music of the Speres). In the Middle Ages, Alberti,
in his treatise on Architecture, described the same ratios as were attributed previously to
consonances.
The first scientific theory of music was that of Helmholtz’s, who based
it on the sensation of tones. Considering music as a pure manisfestation of vibrations and
periodicities, there is no reason why all languages uses a spatial analogy to describe musical
events. Apart from spatial array and stereophonic listening or score writing, music has
nothing to do with space. Or has it?
In the early 80’s, researchers began to explore the auditory mid-brain. Until the late 90’s, it
became clear there was a multi-modal channel combining auditory, visual, and cutaneous
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information, consisting of the inferior and superior colliculi and the anterior ecto-sylvian
cortex.
The main organising principle of the superior colliculus is space. Is it a sub-cortical
substrate for musical space? Possible applications to music therapy are discussed.
JÓZSEF VAS
Mozart’s Magic Flute: An Implicit Psychological Theory on Maturation of
Personality
A psychological symbol-system of maturation of man and woman is involved in the music
and the story of The Magic Flute. Due to artistic concentration the Queen of the Night
can be viewed as a figure of mother both to the young man (Tamino-Papageno) and to the
young girl (Pamina-Papagena), more precisely, a maternal representation, while Sarastro is
seen as a paternal representation for both of the younglings living in their soul. The
dangerous aspects of their inner world originated from these representations will be
surmounted during an initiation rite. A final psychological message of the opera may be
that two young people could find happiness in each other if they successfully have coped
with their extremely good and bad parental representations having had overwhelmed
them.
SESSION III
Movement and dance therapies
MÁRIA MESTERHÁZY
A New Movement Therapy Based on Bothmer-Gymnastics for Blind People and
the Visually Impaired People
Co-workers of the program: Ágota Sárközy, Ágnes Kontra, András Abonyi, Judit Henter
Thanks to Katalin Néveri, VERCS, Vakok Általános Iskolája, Zoltán Varga, Fenyő János
Alapítvány for the moral and financial support, Gemeinschaft für Sozialgestalltung.
To be able to move or take part in different physical activities is a joy. While moving, one
experiences oneself, one’s creativity, inner self and inner energy more than usually.
A handicapped or impaired person lives in a “negative spiral”: to his/her handicap are
added those countless situations of everyday life where he/she is restrained in his/her
movement, communication or freedom. The “injuries of the soul” are visible in their
movement too.
The members of the Association of the Helios Academy of Movement developed a special
method based on Bothmer Gymnastics for those who are not blind from birth. In this
therapy the blind patients can experience the joy of movement in a safe environment and
by helping each other and working with each other, the patients can also build a
community.
The concepts of the therapy are: experiencing the relationship of the physical body and the
space as well as experiencing one’s own movement through balancing-, rhythm- and
special gymnastics exercises; through games that are designed for blind people and which
can help strengthening movement skills and the feeling of community. The aim of the
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therapy: to give a strong experience of the personal space, to be able to observe, recognise
and correct one’s own posture, to move with more freedom and to open up the personal
space as well as the personality.
INCZE ADRIENNE
The Role of Verbality in Movement- And Dancetherapy Groups
In the movement- and dance therapeutic situation the focus is on ’existing in the body’. In
the agreement, we contract on expression in motion. Verbality has a role in the group’s
structure only during the discussions at the beginning and at the end. Thus, in the moving
phase everything is expressed in the language of the body. This is not a gesture language,
’only’ presence in the body.
1. The relation of verbal discussion and doing over to motional experience:
(a) Bodymind experience, body manifestations are organically connected to imaginative,
and verbal experience, manifestations, but they do not explain each other directly.
(b) Associations and feedbacks that are formulated in the course of the verbal phases
create the opportunity for verbal discussion.
(c) The body and the verbal experiences together create the bases of the inner
construction, in which the continuity between the developing non- verbal self and the
verbal self can be built up .
2. In the course of endeavours to understand the group’s process and dynamics, the
group leaders derive from their own body- experience as well.
Motional situations come into being after the groupleaders’ instructions.
ANLENOR FISKE
The Body Is the Hiding Place of Trauma
The Scientific Underpinnings of Dance/Movement Therapy
The aim of this paper is to introduce the idea that in the use of Dance/Movement
Therapy, we are dealing with much more that the positive experience of the creative
process. Attention is being given to all aspects of psychological disease. In
Dance/Movement therapy the medium, the client, biochemistry, memories and bodily
expression come together. In South Africa we have a personal mandate to see that we
offer therapies that are affordable, appropriate and accessible. We need to be able to work
with large groups of people, possibly with mixed diagnoses criteria and can do this by
offering a therapeutic intervention that crosses the barriers of race, age, socio-economic
position, educational standards, and religious and ethnic boundaries. This therapy stems
from ancient cultural practices but can also fulfil the criteria for the cutting edge of
psychological thought. Science is showing us that the body affect the health of a person far
more deeply than ever supposed and that with sound application the body, if listened to
will give us the score.
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MAARIT E. YLÖNEN, MARJA CANTELL
The Intervention Research of Dance Movement Therapy for a Group of 5 to 7
Year Old Immigrated Children in Finland
This intervention study aims at producing research-based data on the usefulness of dance
movement therapy for a group of immigrated children in Finland. Children have natural
dispositions, such as enthusiasm and ability to explore, to experiment and to change, that
are the grounding for a creative therapy process. Furthermore, it seems natural for
children to alter perception and action between different sensory channels. It is also
known that dance and movement are natural and powerful tools for children when
creating their reality, and on the long-run, their identity. The basis of this research project
lies in the idea that dance and movement can enable non-verbal and verbal expression of
needs on individual and group level.
The main idea is to offer a year long, once a week session of dance movement therapy for
a group of 5 to7 year old children who are at risk for displacement in the society as well
as for long-term psychiatric disorders. The group includes three boys and three girls who
have immigrated to Finland, and have some learning problems, or who have already been
referred to psychiatric care but have been submitted to open ward. The formation of the
group has been based on the recommendation of a multidisciplinary team, consisting of
the local pre-education care authority, and social care worker who has specialized in
immigration issues. The dance therapy group will begin in October 2002 and will be
carried out by Maarit E. Ylönen together with the special preschool teacher Heli Pyykki.
In addition, as an integral part of the research process, the group leaders will have a
weekly feedback session and a monthly supervision session. The parents of the
participating children will be involved in the intervention by participating in feedback
sessions run by the group leaders.
The research methodology will be based on qualitative case study and action research
traditions. The practical methods will consist of those described in creative dance and
dance movement therapy research, as well as in theories of psychotherapy.
JILL HAYES
Is Dance Movement Therapy of Any Value to Students of Dance?
This article provides an analysis of the response of three cohorts of dance students to their
participation in an experiential dance movement therapy (DMT) group.
Between 1997-1999 I undertook doctoral research with this question in mind: could DMT
be of any value in the education of dance students? In 1996 I piloted an undergraduate
module in DMT at a small university in the south of England, which I have since
continued to teach and modify. The module is part of the vocational strand of the degree
in dance and is optional. During the research years, before they made a commitment to
the module, I took the opportunity to talk to students in order to clarify the nature and
purpose of the experiential group and provide them with an educational rationale. By
giving them information and time for reflection, I sought to empower them in their
choice.
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The group lasted for eight weeks in 1997 and 1998 and for ten in 1999 due to change in
the university’s term structure. Individual and group semi-structured interviews took place
after the group had finished and further group interviews took place three months later.
These interviews were intended to allow students to express their response to the
experiential group.
Biblio therapies
ANDREA HATVANI
Communicational Characteristics of Alcohol Addiction in Terms of Interactometry
in Tennesse Williams’ Play Titled Cat on a Hot Tin Roof
The presentation aims at displaying how the traditional method of analysing literary works
may be complemented with information emerging from Consensus Rorschach. For the
purpose of analysing dramatic dialogues we have used the Consensus Rorschach code
system established in Hungary by Emőke Bagdy and her colleagues. The idea is supported
by past experience: such analysis have already been conducted by Erika Oláh and Erika
Zolnai of Strindenberg’s play titled Dance of Death, and by the author of this presentation
of Ibsen’s play titled The Master Builder.
Our inspection was designed with a twofold purpose. On the one hand we wished to
examine to what extent do the communicational characteristics of the play’s couple
correspond to those characteristic features of communication Aliz Éva Bányai, Ilona Szili
and Tímea Sári detected during their interactometric examinations conducted on alcohol
addicts and their spouses. On the other hand we wished to discover to what extent our
knowledge deriving from interactometric examination of the characters’ interactions,
relationship and modes of communication supports and complements traditional literary
analysis. Subsequently, we wished to find out whether the above examinations could help
us to select and use a literary text for the purpose of bibliotherapy.
GRACIELA ORMEZZANO
Transtextual Singular Reading: Research In Art Therapy
Art therapy is a new integration of previously separate disciplines: arts, education,
psychology, sociology and anthropology. By calling for a more comprehensive vision of
scientific investigation, this qualitative research is centred in a symbiosingergic and
inventive cosmos-view.
With the results of this research, we can understand the meaning of life experiences in an
aesthetic education workshop. As a psychological and educational phenomenon and as an
aid in environmental and personal development of participants, with the intention of
redeeming the importance of imaginary and its repercussions in these people's life.
Iconographic interviews formulated only one question, answered through drawings.
These images were considered iconographic texts. It was possible to understand the
information obtained, by Transtextual Singular Reading (ORMEZZANO, 2001). This
kind of image reading has six categories: a) the material, b) the formal analysis, c) the
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spatial symbology, d) the colours symbology, e) the imaginary references (DURAND,
1997.1998), f) the art therapist syntheses.
It permits participants to approach the meaning of an aesthetic education workshop in
connection with art therapy, as well as their meaning in that moment of life.
Research was carried out in the city of Porto Alegre in the state of Rio Grande do Sul,
Brazil. The participants were nine people between 13 and 64 years old, with different
levels of schooling raging, from those who never went to school to those with and
incomplete high school.
DAFNA MILLER
Literature as a Curative Tool in Awakening to Reality: in Bereavement
a Bibliotherapy Case Based on Astrid Lindgern's “Mio, Min Mio”
The act of reading in an analytic process can become a potential space, in which
unverbalized and unbearable feelings can evolve. The patient can be in touch with his
feelings and reflect upon them.
The book was the foundation of the therapy, and it nourished both the patient and the
process with its metaphors. The text was chosen for Joseph a 16 - year old deprived boy,
in a boarding school, with the aim to touch his main theme of loss and grief, and help him
with his struggle against psychological detachment.
The elaboration of the metaphors (Ogden, 2001) created a state of “reverie” (Bion, 1962),
enabled him to “be” (Winnicott, 1971), to get in touch with his feelings, to find his own
words and metaphors. In the last phase he could internalize the therapist’s concern for
him and reconstruct his internal objects.
Through the therapeutic process he could feel that he is loved, capable to love and
wish to live.
LAJOS SÁNDOR SZIGETI
Cross and Poetry (Modern Calligrams)
This presentation wishes to contribute to the issue of choosing a piece of art. Our purpose
is to show the perspectives of applying a biblical text in bibliotherapy and the ways biblical
motives appear in modern poetry. In the process we are going to analyse texts that,
according to „Gesamtkunstwerk”, can be connected to both literature and the visual arts.
The most suitable examples are calligrams, or picture poems (shaped poems), and
cruciform, cross-shaped poems in particular. We shall consider the symbolism and the
meaning of the cross in works of this type from a historical perspective. Then, by
interpreting cross-shaped poems by Hungarian (and foreign) poets, such as Miklós
Radnóti, Sándor Weöres, Gyula Illyés, László Nagy, József Utassy, we shall unravel
traditional biblical connotations in order to show the possible behavioural patterns of
contemporary wo/man. We hope to show that these „texts” are unique ars poeticas: a
shocking loss of value is conceptualised as opposed to the pathos of the death of Christ.
Could it be the death of an act itself? Has the importance of „verb”, „word” and „work of
art” been lost in modernity? When endeavouring to answer this question, we shall call
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attention to the fact that in reality, immanent orders are formed with reference to how the
postmodern personality, thinking in terms of modernity, can get from freedom from
something to freedom for something; as the sign INRI is not only the abbreviation for
Iesus Nasarenus Rex Iudeorum (Jesus of Nazareth, King of the Jews), but can also mean
In Nobis Regnat Iehova (Jehovah rules within us), or Igne Natura Renovatur Integra (the
inside of nature renews in the fire), or Infinitas Natura Ratioque Immortalitas (the infinity
of nature reveals immortality), just to mention a few possibilities.
Finally we intend to show how these perspectives are applied in higher education
(University of Szeged, Faculty of Arts, Department of Contemporary Hungarian
Literature; University of Szeged, Faculty of Juhász Gyula Teacher Training College,
Department of Applied Health Sciences; and Károli Gáspár University, Faculty of Arts,
Department of Contemporary Hungarian Literature).
PEGGY L. ANDERSON, JUDITH D. ANDERSON
Bibliotherapy for Adolescents with Learning Disabilities:
Addressing Social Skills through Shakespearean Literature
Bibliotherapy has historically been accepted as an appropriate social/emotional strategy
for providing assistance to both children and adolescents with disabilities. Typically
bibliotherapeutic techniques have been used to help the individual come to terms with the
disability by reading about literary characters who have faced the challenge of problems
similar to those of the reader. The premise of this instruction is rooted in bibliotherapy
theory, which suggests that reading can promote a type of affective healing. During the
past decade educators have begun exploring the use of literature in a structured curricular
framework for teaching social skills to students who have not spontaneously learned these.
This approach represents an extension of previously used bibliotherapeutic techniques.
The current paper describes one instructional approach that involves the pairing of social
skill objectives with the teaching of Shakespearean literature for purposes of improving
social cognition and problem-solving.
CHING-HUANG WANG
Self-Guided Bibliotherapeutic Experiences Related to Identity Issues: Case Studies
of Taiwanese Graduate Students in American University Settings
The purpose of this study was to qualitatively explore the processes by which five female
Taiwanese graduate students majoring in Education (4) and Science (1), who were studying
in American university settings, employed bibliotherapy to deal with their emotional
difficulties in relation to identity conflicts. The methods employed in this study for
collecting data included audiotaped face-to-face interviews, telephone interviews, mindmap activities, think-aloud protocols, and telephone or e-mail follow-ups. The researcher
examined these data using an analytical model generated on the basis of identity theory,
Cognitive-Behavior Therapy, and bibliotherapy theory. This model explicated how
participants first examined their initial identities and then maintained them, modified
15
them, or constructed new identities by moving through the three stages of bibliotherapy:
identification, catharsis, and insight. By dint of this study, we come closer to
understanding how the participants employed literature to deal with their emotional
difficulties related to identity issues and further made adjustments to their given
situations. This study facilitates a better understanding of bibliotherapeutic experiences
and
identity
conflicts.
It
also
contributes to our knowledge about self-guided bibliotherapy and pedagogical
bibliotherapy in cross-cultural study settings and their importance in cognitive, emotional,
and
social
development,
especially
with the approach of globalization.
GYÖRGY SÁRVÁRI
Interpretation as Artistic Experience and Therapeutic Possibility
The paper will go round the role of the time and rhythm from the point of view of the
artistic work and the therapeutical pürocess. It will be went round the effect of the
meeting, the possibility of the healing connection within the conceptual frame of the
synchronicity, parallel events, the metaphysical nil, the unfilled and the filled time.
WORKSHOP I
Biblio therapies
ILDIKÓ. TÖRÖK GÖDÉNÉ DR
The Healing Book
The Therapeutic Potential of the Fairy Tale
Reading books is an essential part of our lives, however, surveys have shown that, in our
times, a considerable share of the population do not read books.
Reading good books has several positive effects. Bibliotherapy is a form of therapy, which
can help persons with psychic problems by reading literary works. There is a growing need
for this, because there are more and more people with psychic problems in our hectic
world.
In Hindu medicine, fairy tales were used to cure patients with psychic troubles. French
literary historian, Nisard, also pointed out the value of fairy tales for persons in critical
situations.
Childhood is a cherished memory for everyone. Fairy tales, especially those told by the
parents are very important for children. They have numerous positive effects: they help
children cope with their problems, they give them the feeling of safety, and they promote
the development of their personality, imagination and vocabulary.
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Complex therapies
JOHN BERGMAN
Violence and The Mask: Dramatherapy with Adult and Juvenile Offenders
Stonewall Arts Project Inc/ Geese Theatre Co have worked for 23 years in prisons
throughout the world- Romania, USA, UK, Brazil, New Zealand, Australia. Geese
Company USA supports 6 therapeutic communities for the treatment of violent men in
Romania, and has treated thousands of sexual offenders with a combination of art and
drama therapy as well created original productions with children and men in prison.
Drama therapy is the use of theatre-based techniques to help clients experience relief from
their psychological problems. In this workshop, using masks, and action techniques, we
will teach participants how the mask is both a defense and a trap for violent men and
adolescents .The emphasis will be on drama therapy techniques to work with clients who
have issues with sexual and physical violence.
Geese Company's director is John Bergman M.A., RDT, MT- BCT. He has published
extensively on the use of dramatherapy to treat prison offenders, and create therapeutic
communities.
JUDIT BÉKÉS, EDIT BIELICZKY, SIMON CSORBA, ZSUZSA MIHALIK
Art Therapy and Comprehensive Care of Epileptic Patients
First, we must realise that there is no epilepsy as such. There are epilepsies. Some start at
early childhood, some at adolescence and some in young age. In some the sign is a short
loss of consciousness, in others strange desoriented behaviour, and then there is the socalled grand mal – the tonic-clonic seizure. In more than two-thirds of the patients seizure
freedom can be reached by medicine or epilepsy surgery. There are many types of epilepsy,
but in nearly most of them, for a shorter or longer period there is the threatening
experience of loosing the control, and the fear of having a disease which is highly
stigmatised. This is a great challenge and needs readaptation, even if the seizures disappear.
Although our lecture mainly covers work done with about that 20-25 % of people living
with epilepsy, whose seizure remain and are in need of rehabilitation.
In these cases epilepsy can have many negative psychosocial consequences: low selfesteem, isolation, learned helplessness, anxiety and depressive mood, dysfunctional
processes in the family: overprotective on the side of the parents or spouses, dependent
behaviour on the side of the patient. Important activities of the developing personality can
be harmed, like exploring, performing in school, being with peers. For these people it is
difficult to reach independent living, and they generally feel that they are second-rate
citizens.
Comprehensive care means that the aim of the treatment is not only reducing the seizures,
but to reach the best possible quality of life. This needs a whole range of psychosocial
interventions: psychoeducation, counselling, individual, group and family therapy, jobtraining etc, and complex rehabilitation – in which art therapy is an important tool.
17
There are some epilepsy centres where art-therapy is done, the main results are in
developing self-expression and working through of difficult emotional matters.
We are discussing our experiences with the work of the Valentin House patients. Valentin
House is the rehabilitation unit of the National Institute for Psychiatry and Neurology,
and it has a special standing: it functions in strong co-operation with the Budapest-Bethel
Epilepsy Center Foundation, many of its projects are covered by applications and
donations, and some activities are led or organised by volunteers. We like to call it
independent living centre, because that is our main aim – to reach an independent,
fulfilling life.
PENELOPE A. BEST
The Clay Shapes the Sculptor, as the Sculptor Moulds the Clay:
Interactional Shaping Between Therapist, Client and Supervisor
As artists begin to form ideas, objects, or phrases from the chaos of artistic improvisation,
they may marvel at what emerges - sensing that the journey has involved a ‘dance’ between
themselves and the material not knowing at times who was the creator. This paper
suggests that within therapy, perhaps most explicitly within the arts therapies, there is a
similar ‘dance’ between client and therapist, and between therapist and supervisor. This is
a ‘dance’ in the unknown, in the space in between them, into which both enter in good
faith and begin to improvise, using a variety of phrases, colours, tones and narratives. This
‘dance’ consists of interactions in which the players quite literally shape each other, and
each others’ stories, over time. This paper aims to define the concept ‘interactional
shaping’, present supportive material from a supervision research project, and outline
related theoretical perspectives.
MIROSLAV PRSTAČIĆ
Art, Creative Therapy and Science
When the mind faces an intellectual and moral crisis of progress, there is an increasing
interest in the hidden world of the soul. In the general axiology, new scientific and
professional fields are developed. There is a need for new supportive and complementary
approaches in various fields of prevention of mental health, as well as in education,
diagnostics, treatment and rehabilitation. Man’s experience of discovery in art and science,
as well as his experience of self-realisation in various fields of activity, is filled with the
aesthetical and ethical dimension of his existential experience, which can have a
prophylactic and therapeutic function.
On such basis, certain relations between art, contemporary science and interpretations of a
intertheoretical model of creative therapy have been shown. Special reference has been
made to the application of various forms of art therapies in psychosocial oncology,
physical medicine and rehabilitation, sophrology, education and other related disciplines
oriented towards study and support of human mental and physical health. Excerpts from
clinical investigations, carried out in several scientific projects within various researches,
have been presented: the therapy of pain and body image in oncology patients, application
of art media and art therapies in various other fields in education, diagnostics, treatment
18
and rehabilitation (cerebral trauma, cerebral palsy, aesthetics and functionality of
movement, psychosexual problems of growing up, interpersonal communication, quality
of life…). Development of professional identity in the field of art therapies and
sophrology at the University of Zagreb has also been shown, as well as contents of
educational programs at undergraduate and postgraduate studies. Special emphasis has
been put on the importance of a transcultural approach and the necessity of continuous
collaboration at an international level. The paper has been prepared on the basis of
research carried out within scientific projects supported by the Ministry of Science and
Technology and the Ministry of Health of the Republic of Croatia.
HÁSZ ERZSÉBET
Some Clinical Fields of Application of the Bibliotherapy: Psychiatry, Neurology,
Oncology, Paediatrics, Geriatrics
The paper will present some clinical experiences on the basis of a many-sided
bibliotherapeutical practice of twenty years in order to accent both the general
therapeutical perspective of the bibliotherapy and its specific possibilities on a large clinical
scale.
Main points of the paper are the following: 1. Active bibliotherapy and creative writing in
the domain of the oncology. 2. Active and receptive bibliotherapy as a training of the
memory and other specific effects in the field of the geriatrics and gerontology. 3.
Complex bibliotherapy in the paediatrics and in the pedagogy – a brief historical outlook
(e.g. bibliotherapeutical elements in the education for chronic ill children). 4.
Bibliotherapy with neurologic patients – two examples: receptive bibliotherapy in sclerosis
multiplex and post stroke depression. 5. Bibliotherapy in the psychiatry – some interesting
problems, e.g. “Werther-matrix” in suicidal cases, in the wake of the Jonah-complex by
means of the relevant story, thrust for knowledge and/or thrust for power in the Fausttype etc.
FÓRIZS ÉVA, BARTÓK ANDRÁS, ABDALLA SHADAD,
GERVAI MÁRIA, SÓFALVI TIMEA, FÓRIZS TAMÁS
Central Modell OUtpatient Care Center TÁMASZ (Support) Complex Art Therapy
Program
The Komplex Art-therapy Program of the „Central Modell After Care Center” in
Liget street
In Central Modell After Care Center we deal with low social econimical class clients, who
have problems with verbal self-expression. Our Komplex Program was created according
to the actual needs of our clients.The Komplex Art-therapy Program completes the
traditional medical treatement and care.
Our actual programs:
Monday: 15-16:30 clay modelling, 16:30-18 tai-chi
Tuesday: 16-18 psycho drama group, 18-20 meditation group
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Wednesday: 15-16:30 english lesson, 16:30-18 social skill training
Thursday: 15-16:30 kreativ training, 16:30-18 tai-chi
In order to reflect the most important points to the case manager of the client, together
with the clients some of the stuff take part in all of our programs.
During the case discussions we summerise our experiances and include them continously
into our Program or modify it.
We would like to demonstrate the process of the Therapy through some cases.
ZSUZSA GÁL
An Urban Shaman’s Space of Living and Tree of Life in the Magic Circle
The Magic Circle is the helix of unity, completeness, rhythmical and cyclical changes,
physical and mental healing, development, external and internal shaman travels and rituals
of Nature and Self. Every movement in Nature and on our individual path of lives is a
kind of dance to the rhythm of life. We are able to recover and develop in that dance. We
can reach higher level of consciousness in living our life, and we learn to do it with
humour and become playful artists of it. In order to achieve this level, personal actions are
needed. Goals of the group workshops are: finding the centre of gravity, keeping balance,
harmonisation of head-, heart- and gut centres as viewpoints, creation of physical,
emotional and mental health. On the workshops we use special exercises to reach our
aims: meditation, dancing, authentic improvisations, resuscitation of ancient traditions and
rituals, energetic games and role-plays with colours, shapes, sound and movement.
Feedback circles are also important parts of our activities. On Nature Celebrations we go
out – eight times a year – talking, meditating, celebrating, playing and dancing in our
personal and group magic circles in the temples of Nature.
CSILLA BENE, GÁBOR CSÉFFALVAY
„The Artist’s Way”
Motto: „When the conscience turns inward, it discovers its very sources and returns to
eternity”
We have been running different personality and team development courses for many years
now, but in the past about 5 years our focus on the creativity and renewal of the person
has become stronger. Our way has partly derived from Julia Cameron’s work and
methodology described in her book, „The Artist’s Way – A Spiritual Path to Higher
Creativity” /Putnam Publishing Group, New York, 1992, (Hungarian translation: 1997) /
We thank her for the inspiration and the positive example – we would like to honour her
by continuing to use the title, as it describes the ultimate mission we share.
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TIBOR MEZŐ
Musical Bibliotherapy
Motto: A proper life is our greatest and most glorious work of art (Montaigne)
I am trying to find the place of a complex art therapy method within medicine. The name
of this therapy is musical bibliotherapy, for which I apply the activity scheme of small
groups. This sort of therapy means a natural combination of receptive music therapy and
receptive bibliotherapy. In the course of this therapy inducing reactions in the person who
is reading, listening to music or talking takes priority over the piece of art or its analysis.
The piece of art is a mere tool in the hand of the patient to get closer to his momentary
self. The effectiveness of musical bibliotherapy is based on association of ideas. It is not
only thoughts and ideas that we can associate but pieces of art as well. This can be done
on the basis of similar features which usually arise from an analogy of atmosphere. This
method is very important in treating mental disorders with the help of sociotherapy.
Musical bibliotherapy results in a synthesis in using the left and right cerebral hemispheres
and a many-sided development of the personality. It develops the personality through
esthetical exhilaration and changes the patient’s attitude with the help of the evocative
strength of extensive observation.
GYÖRGYNÉ JANCSÓ
The Method of Grapho-Psycho-Morbo Analysis
„You man! You know who you are in your innermost, but people see a totally different
image. You can choose to be the image suggested for you, and give up your personality
remained for you , or stay loyal to yourself.”
With applying the procedure, the graphic analysis can highlight illnesses and physical
alterations. The illustration is a drawing, drawn by the ill person. With the completed
picture, the particular motives on it, their positions, relations to each other, and in the
factual motives within, there’re experienced alterations leading to an analysis. In case of
the returning sick persons, we use a dynamic drawing test. This gives us an opportunity to
compare more pictures to get a description about the improvement, stagnation, or
declension of the questioned person’s condition.
WILFRIED GÜRTLER
Integrated Expression and Dance Therapy- ITA®
What is louder than thoausand words? The holistic body expression of man. The
Integrated Expression and Dance Therapy –ITA® represents a human, integral and
quantum psychological therapy. What does this mean? Most psychotherapists base their
work (and the respective treatments) on four isolated human aspects:
cognitive structure and cognitive therapy
 behaviour patterns and behaviour therapy
 emotional expression with art therapies
 somatic neuropsychology
21
But – every human being is an integral and complex system. Novalis says: “Every person
is a little society”. Consequently the ITA ® works with the ten perspectives, with which
people describe themselves, their countries and cultures.
These ten perspectives represent the tasks of every day life of all of us:
 the body system and its sanity
 the emotional self-awareness
 the personal creativity
 the cognitive programme of thinking
 the network of relationships,
 the ekological and economical conditions of life,
 the spiritual philosophy of “weltanschauung”
 the game of time and space
 the personal truth and lifestructure
 and the emptiness
The ITA® methods, processes and techniques reflect the complex human context and
situation.
It is sometimes a therapy for therapists, who integrate essential and complementary
aspects of ITA ® in their own system of psychotherapy. This works.
ITA ® founded from Wilfried Gürtler, diplom-psychologist since 1975 and developped as
an integral and complex system for different indications and symptoms.
ITA® works since 1982, since 1985 ITA® is instructed in Europe, e.g. in Italy, Austria,
Hungary, Korea and New Zealand. ITA® is a preventive and prophylactic approach: ITA®
for single, couples, families, Integral stress reduction®, Sanity through movement®, and
Healing the Inner child® are instructed in CITA (Centrum für Integrale Therapie und
Integrale Tanz- und Ausdrucks- Therapie, www.cita.de) in Munich since 1986 and in IKT
Központ (Integrált Kifejezés- és Táncterápiás Központ, +36-1-3180141,
tancterapia@axelero.hu) in Budapest since 1997.
In this demonstration of ITA® some aspects of evolutionary stress reactions are explored,
furthermore we engage in aspects of somatic, emotional, cognitiv and spiritual stress
reduction.
Wilfried Gürtler works in German language with Hungary translation.
W.Gürtler, born 1950, lives in Munich and Budapest. Since 2000 he directs an
International School of Stage and Performance in Munich.
WORKSHOP II
Art therapies
JENNIFER BURTON LIANG
Art Therapy n the Treatment of Eating Disorders
Eating disorders are complex psychiatric illnesses and sufferers often require intensive,
lengthy, and multidisciplinary treatment for recovery. Art therapy is unique in the
psychotherapeutic treatment of eating disorders in that it provides the client with a means
to express their feelings in a concrete manner through the control of external media.
Through my work experience providing art therapy counselling to clients within the
22
Eating Disorders Research Project at the Teen Health Centre in Windsor, Ontario,
Canada, I have collected first hand experience, case study examples and client artwork to
illustrate the effectiveness of art therapy in the treatment of anorexia and bulimia nervosa.
Within the multidisciplinary team approach to the treatment of eating disorders art therapy
has emerged playing a unique, significant and resourceful role.
PAOLA COMINATO
“The Color Of Feelings”
An Art Therapy Intervention in Elementary School
The drawing, more than being one of the means that the child possesses fir
communicating, describing and narrating the beings and the things that surround him, is
above all a privileged tool of expression of the child’s emotional life and his/her own
inside word.
Through the graphic- pictorial activity, the child risks his/her ability of imaginative
elaboration.
The object of the evaluation is not the idea of beauty or resemblance with reality but the
child’s line of the product, its intellectual, social, aesthetic and creative components.
Moreover, the work developed within a group favors socialization through comparison
and exchanges with the others.
The group becomes a great resource from which every individual can derive a feeling of
being contained and protected.
PATRICIA H. GRAJKOWSKI
Journey to Wholeness: A Cognitive Art Therapy Approach to Trauma
A sense of connection with caring people is the foundation of personality development.
When this connection is shattered, the traumatized person loses her basic sense of self.(1)
This paper focuses on a woman’s journey to getting her life back. Abused in all three
realms – emotional, physical, and sexual – from an early age by her father, she held the
belief that she was unable/unworthy to be in a meaningful relationship. She felt
worthless, guilty, and abandoned, presenting a façade of “having it all together while
holding on to a secret.”
This is a case presentation of a woman named ‘Ella’ who is in her 40’s, an intelligent,
divorced mother of two young girls, involved in a verbally abusive relationship when she
presented for treatment. She is a first generation American born of Hungarian parents
and the oldest of three girls. Father also molested her sisters and friends (girls in the
neighborhood, she later found out). Father was defined by client as a “terrorist” at times
and very “caring” at other times. This kept her feeling unbalanced and confused. She
acknowledged having Lesbian relationships prior to her marriage to a “stable” man whom
she felt would “rescue” her.
She reports dissociating, limited childhood memories, a sense of being in “competition”
with her mother and feeling negated by siblings. At times she was observed to be
physically abusing herself in the session by pinching and pulling at her skin.
23
Traumatic events violate the autonomy of a person. In rape, the attack demonstrates
contempt for the person’s autonomy and dignity. The traumatic events destroy the belief
that one can be oneself in relations to others. (2)
Ella came to see me from a referral by a colleague, a pastor and counselor. She had been
in counseling prior to relocating in Texas, where she started working on her issues
associated with her trauma. She is a creative, high functioning attorney who works on the
cognitive/symbolic level.
Artwork provides a concrete ‘look’ at the belief system. The client’s ability to identify and
be mindful of feelings is a crucial step in learning the connection between cognition and
emotion. Art therapy is both a stimulation for and expression of affective experiences.
Exploring spontaneous artwork enhances the process of developing a visual language for
identifying and expressing feelings.(3)
Cognitive art therapy is about establishing an environment of learning and guided
discovery. (4) ‘Meaning’ of artwork requires the individual’s own association (5) and the
client’s willingness to explore these ‘meanings.’ Collaboration with the client in the
exploration is a key to successful use of cognitive and art therapies tools and techniques.
As a therapist, I assist the client in exploring thoughts and beliefs by Socratic questioning
and in developing skills to facilitate healthy risk-taking, learning, and application for
therapeutic change. I attempt to use innovative, creative approaches to enhance
empowerment. This process allows respectful space for the client’s internal experiences to
be expressed, understood and accepted by another as well as the self.
My client is now in the process of exploring her spirituality and understanding the role
God plays in her life. When her anxiety level is high, she recalls the music she heard in her
church service and this allows her to focus and pace herself with the rhythmic beat of the
sounds.
She is no longer in that initial verbally abusive relationship. She currently working on
understanding what a ‘typical’ caring family is about as her current significant other comes
from, according to her, “a family that is able to look at and engage with each other as real
people.” Something, she indicates, was not part of her acculturation in becoming an
American. She stated they “respect and accept each other even though the shortcomings
are apparent.” Something, she stated, is totally FOREIGN in her family of origin.
Slides of her artwork from years 2000 to 2003 will be shown with captions and titles
defined by her.
MONICA CARPENDALE
Getting to the Underbelly:
Phenomenology & Art Therapy Supervision
This paper is about the application of the phenomenological method to art therapy
supervision. The 5 key concepts of phenomenology outlined by Merleau–Ponty, the
French philosopher, have been applied to a creative exercise to be used in the context of
supervision in art therapy. The incentive to develop the technique came from working in a
small mountain town and having graduate students working in isolated rural communities
who do not always have immediate access to supervision. This technique was developed to
help them explore various aspects of a therapeutic situation and the client therapist
relationship with the aim of uncovering the essence of those situations and relationships.
24
It is my hope that this model will be useful for an art therapist doing individual or postsession art, peer or group supervision.
I have applied the five key concepts of phenomenology identified by Merleau–Ponty, the
French philosopher, to a model for supervision in art therapy. The key concepts are
description, reduction / bracketing out, essence, intentionality and world. (1) The art
therapy supervision exercise I developed combines art making and writing with the five
central concepts of the phenomenological method.
RACHEL GERSTEL
Investigating a New Approach to Mood Lability During Menopause
Art Therapy With Women in Menopause
Menstruation and fertility has always been an empowering state on the nature of
humanity.
Fertility, according to Neuman,(1973) is the most natural thing to the big mother in many
ancient cultures.
Menopause is one of the significant periods of a woman's life. As this phase in life is prone
to emotional distress it may cause mood instability.
This is a pilot thesis research that I have conducted in the menopause clinic in "Shiba"
hospital in Israel. The instructors have been psychologist Baruch Zadik ,Lesley university
in Israel and Dr Yair Frenkel, , chief of women menopause clinic in "Shiba" hospital.
The body of literature based on object relation theories, developmental theories.
In art therapy women worked on themes related to developmental phases in life,focused on some of the distinctive symptoms during menopause phase characteristics,self-negation, mood instability, empty nest syndrome and depression.
It seems that women who had unsolved early internalized relationships with significant
other has mood instability and needed to bring up feelings of anger and project the
feelings on the image has create in art.
BARBARA KARIZ
Art Therapy and AD/HD
Ongoing Art Therapy Groups With Children.
Researching The Process And Outcomes Of Therapeutic And Educational Art
Interventions For Children With Special Needs.
Art Therapy is a useful therapeutic and educational intervention with AD/HD children. It
provides a way of helping the child encounter and correct attention and hyperactivity
issues and offers the opportunity to socialise and practice the social skills. It provides
visual imagery and graphomotor experiences, that enhance learning and allows practice of
different skills.
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DAPHNA MARKMAN ZINEMANAS, VARDIT GVULI MARGALIT
Interaction in Art Projects as a Major Tool in the Therapeutic Process.
Joint art projects can involve a client and a therapist, a parent and a child, a couple, a
family, or a group. Artistic non-verbal communication can help create a therapeutic
alliance. A significant interaction can occur without words. There is no demand for verbal
information. In addition, it has a diagnostic value: the way in which the participants share
the same space reflects real interactions, and/or inner conflicts. The artistic product is a
concrete documentation of the abstract and unconscious component of the therapist’s
attitude to his/her patient (countertransference), as well as the patient’s attitude to his/her
therapist (transference). The patient gradually learns to notice the connections between the
artistic phenomenon and the abstract characteristics of his intrapsychic and interpersonal
world and, as a result, enhances his consciousness. Moreover, the joint art projects provide
an opportunity to experience and practise new ways of interacting, with the therapist or
any family member, as a part of the working-through processes.
DIANE RANGER
Art Therapy as Changing Process in a Preschool Context
Results from two case studies from an action-research with a systemic approach on the
integration of Art Therapy in the scholar system of Québec involving children of ages 5-6
are presented. The case studies were conducted in the context of a Ph.D. in Education at
the “Université du Québec en Outaouais (UQO)” in collaboration with two pre-school
teachers at two schools of the Outaouais region of Québec. Art Therapy was chosen
because the art process and productions lead to better knowledge of each child’s specific
needs and help personalize interventions. This action-research had multiple objectives
aiming at helping all children in the classroom improve integration to their group and to
the school system. The interventions were performed so as to help the teachers and
children develop a team spirit, increase awareness and acceptance of each individuality in
the class, develop creativity and communication, and resolve problems experienced in the
class. The interventions, their impacts and the creative processes were continuously
discussed, reviewed and planned in collaboration with the teachers.
EMŐKE SARUNGI, GABRIELLA IMRE
Why is Growing up So Difficult?
Experiences of Small-group Visual Psychotherapy with Young Adults
There are quite a number of young adults (aged between 18-30 years), who find it difficult
to cope with the problems of adulthood in their lives (such as: leaving home and parents,
finding work and a partner, finishing university). Many of them have symptoms of anxiety
and/or depression.
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Frequently, those young people come to therapy, therefore we created them a short (12
sessions), closed, small visual psychotherapy group suitable to focus on this problems
intensively.
Usually we select 4-5 participants, after first interviews. We have choosen two hour
sessions once a week, so we are able to work in intimate atmosphere, and all participants
can have sufficient time for themselves.
In our work we follow a line of themes starting from self-image, family, childhood
memory and ending with the picture of the future, while the further themes are selected
corresponding to the needs and special problems of participants (such as: traumas, deathloss-mourning, male-female relationships,
good-bad polarisation, parent-child
relationship, healing powers, rituals-fests ).
In the paper we present the phases of sessions while summerizing the caracteristics of
small group work in visual psychotherapy.
In the process of psychoterapeutical work we try to focus on the relationship and
psychodinamical relevances between creator and the successive images, while being aware
of connections between group members and also relationship, transference and
counterfransference with the images of others and with group leaders. This whole process
is very complex and intensive in the sessions, emotionally involving all the members of the
group.
We experienced that although the process is relatively short and gives merely an overview
of important themes/problems, the use and power of visual images and this method
proves to be a very effective and sufficient way of helping.
Results can be seen in: patients viewing the problem on a different, psychological level,
new and effective coping mechanisms appear, they understand pscyhodinamic and/or
relationship connections, symptoms are resolved or disappear and very often group
members make creative attempts to cope with the problem also in real life.
BEA PETHŐ
Artwork as a Mirror of the Personality
Creativity as a lifestyle
Creativity as an act of creation is an inner process that is affected by knowledge and
intelligence, but at the same time it goes beyond and is independent from them. It is such
a human capacity which has many expressive forms and some boundaries, but it can also
be lost unless developed. As it is a general ability, everyone possesses it including those
with mental disabilities.
IRÉN POTZNER
’ Surprise theatre’ – Bible improvisation or the Bible in subjective aspect
The improvisation is the most ancestral type of the theatrical art. This was revived by the
’father of psychological drama” named Moreno in the 20 th century. In Hungary more and
more people make this theatre through György Ádám Kiss. A few people from the public
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tell some stories and spirits and these essences are animated by the amateur actors on the
stage.
My company makes it in another way. We had already had some successful performances
from 2000 onwards.
A 3 - 4 day training came before the performance that was developed from the Bible
drama as from a self-knowledge group. During the training the participants had been
studying the improvisation theatre and they had been playing some short scenes.
Last day at the performance the public saw own spirit on the stage that were connected to
a work of art (literature, fine arts, music). Afterwards they played short meetings of their
favorite Bible characters. Than we asked animating their nice Old and New Testament
stories and we played them. They brought such stories upset from the Bible and said from
what point of view in Bible character what would they like to see. They choose the roles
and after a short dressing up could see it on the stage.
I keep making such a theatre with some training with my partner who is a pastor.
In 2002 we organized with the participants who took part intensively in the improvisation
the ’Surprise theatre’.
We would like to play with the participants together on the workshop. First time of the
workshop after a short introduction we show and play some techniques in improvisation
than we play together some short Bible scenes. At the second part the participants may ask
some Bible scenes what our group will play.
TUESDAY, 01. APRIL 2003
SESSION I
Theories
NOA REVESZ – SHENHAV
Diagnosis and Definition – Painting and Drawing* Characteristics of Borderline
Personality Disorder
This study deals with developing a tool to diagnose Borderline Personality Disorder by
analyzing characteristics of patients’ drawings and paintings in order to contribute
additional dimensions and greater precision to diagnosis.
The objectives of the research are: to create a ‘dictionary of terms’; to examine the
reliability of the art-therapy tool; and to test its validity, on the premise that there exists a
connection between diagnosis of Borderline Personality Disorder based on clinical
psychiatry (as described in DSM-IV) and art-therapy diagnosis based on the tool presented
in this study.
DAVID MACLAGAN
Rescuing the aesthetic in Art Therapy
The 'feel' of an art-work is an amalgam of aesthetic and psychological qualities:
these play a crucial role in art therapy, and yet receive scant attention in its literature.
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Aesthetic qualities are inseparable from the material handling of the medium: they
encompass far more than the 'beauty' traditionally associated with the term. The range of
their psychological 'lining' is correspondingly wide. Recognising this interplay means
retrieving it from the sidelines to which most psychoanalytic theory has consigned it. It
also means acknowledging the necessity for relying on imagination and fantasy to deal with
its qualities, which lie in between subjective and objective, internal and external, worlds.
MONICA CARPENDALE
The Art of Lorraine Beninger
Personal Maps and Collage Constructions
This paper examines the value of art therapy with the physically and mentally
handicapped. It reviews a video entitled “The Art of Lorraine Beninger” that illustrates a
creative art therapy process celebrating ability in the face of disability. It demonstrates
clearly that someone who is mentally and physically handicapped, including being legally
blind, can very effectively use creative art making within a therapeutic process. The
concrete and tactile nature of the art media and construction materials Lorraine collected
worked over time to enhance her memory and her ability to symbolize her feelings and
experiences. The creation of metaphors in the art facilitated both cognitive development
and the integration of insights regarding her emotional life.
BÉLA BUDA
Art Therapies in the System of Psychotherapies – Indications,
Combinations, Efficacy
Art is a cultural invention of mankind, a specific way of communication to express and
regulate feelings, emotions and affects related to self, human existence and society. It is
inevitably there in every form of psychotherapy and helping activities, at least as narrative,
metaphor, symbolization, dramatic action or pictorial representation. But there are specific
methods and techniques, which are called art therapies and are standardized for training,
supervision and use as psychotherapies. The paper tries to give a tentative typology of
such methods, according to the experiential and behavioral processes to be influenced or
modified and to the mechanisms of fostering or creating changes in personality. A
definition in psychotherapy is given and an integrative paradigm is emphasized which is
conceptualizing psychotherapy as a system of action planned and executed in frames of
strategy and tactics. Art therapies are used rarely alone, they are usually parts of
combinations of different psychotherapeutic approaches and methods. Therefore their
efficacy can’t be evaluated directly, but rather in a reversed way, by the fact that their
absence makes system of therapy less effective. Their indications are related to mobilize
“right hemisphere” activities, mainly emotions, phantasy, nonverbal channels of
communication, empathy, involvement into relationships, peak experiences, being in
groups in a decentered, self absorbing way, and being engaged to work on identity and self
fullfilment. Art therapy or art therapies are insufficiently used in the contemporary systems
of psychotherapy, therefore the paper is a pledoyer for granting more space and
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momentum for them, including the more widespread and conscious application of basic
art modalities in classical orientations or methods, such as psychoanalysis, etc., like music,
humor, role playing, drawing, imagination, creative writing, etc.
Art therapies
ISTVÁN MAGYARI-BECK
Spontaneous Therapy
It is a deeply rooted theory today that we people are frequently attacked by the harsh
reality in a spontaneous way and are subsequently defended by some kind of professional
therapies. In this paper we shall speak first of all of psychotherapy, in spite of the fact that
it is not so easy to make absolutely exact distinctions between psychotherapy and
traditional medical therapy. That is illness comes spontaneously, whereas the cure is a
professional job. In the course of the explanation of this state of affairs, the fight of
everybody against everybody is frequently mentioned as a basic social rule of human life.
We can be attacked both physically and/or psychologically. The psychological attack
against our personality aims – as a rule – our superego, our value system trying to
“persuade” us about the existence of a sharp contradiction between our behavior on one
hand and our value system on the other one. This method of oral aggression usually in the
disguise of everyday “education” is in fact a very effective method of the destruction of
personality from its top level. The therapist goes an opposite way. He or she accepts us,
expresses his or her esteem as for our personality and helps us with the solution of our
problems. It is true that sometimes certain illnesses can also be created by therapists in the
process of therapy. However, these illnesses are regarded either as mere accidents or the
results of the lack of sufficient medical conditions in terms of finance, personnel, expertise
and so on. It is worth also mentioning that not only the harsh environment and life
conditions can lead to illnesses. Many times, high level culture and civilization acts
similarly. E.g. when people are not able to adjust, being socialized if the original gap
between their childhood and the real society proves to be too large. This can happen if a
society is accumulating a large number of working innovations and people cannot follow
them (Jung, 1989; Lorenz, 1988). Although any culture and civilization serves the
satisfaction of high level human needs, too much food – so to speak – is not digestible
even for a tragically hungry person.
Music therapies
MARCELLO CAMERLENGO, ANNA MARIA FERRONE
Project of Scholastic Integration in Music Therapy Ambit
The courses run, from time to time are subject to changes, they are reviewed, programmed
and planned out, with the consideration that they work towards the so-called collaborative
structure and meet the Institution’s needs.
To clarify the above, any difference made, will influence the course so as to bring it in line
with specific concepts which, will enable all students in every class to achieve their final
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goals in Musical duration; the discovery, know how, competence and production of
excellent music. From a didactic point of view, music therapy in collaboration with the
Musical Education teaching is about providing a learning support, it will enrich the
programmed and embellish the course contents whilst its inherent aim will materialize in
the areas such as social relationship, physical-behavior and the cognitive in-order to allow
all attendants, with or without a handicap to be positively stimulated in such a way that
they are able to discover and ascertain a resonant reality. For this motive the aim is not
different programs but programs for everyone through which teachers, experts and
workers, methodologically speaking will know how to single out actions, behavior and
structure modality; according to Aucouturier, via the demasking of application % alone.
Our inspiration comes from the methodological research and ideas specific to the practice
of Musical Education, founded modern in concepts and practices and consolidated as
much a musical science as an educational psychology.
KLARA KOKAS
Joy through the Magic of Music
By using my experimental program which I worked out with children over about two
decades, I was looking for the most appropriate and useful methods. My discoveries came
to me through the children. I learned that if the body is at rest, motion is spontaneously
born.
In the film „I Carry Fire” nine-year old Orsi says: „Music lifts up my hands and plays with
them.” (2)
This simple, natural process would be disturbed by the control or criticism of motion. The
freedom of movement makes the reception of music much more profound. An interaction
– an organic but flexible connection – is established between motion and music, which is
confirmed by the repetitions.
Thus body and soul become partners in exploring the vibrating world of music. They
explore the contents, the means, and the message of the composition in their own ways.
They explore – in freely chosen order but in their indivisibility – rhythm, melodic
cadences, shifts, in consonance, harmony, responses to each other, their dialogues, their
meetings, the entering, the departing, or the harmonious blending of the different parts –
that is, musical texture with its condensations and attenuations, with its creases and with
the way the creases are smoothed out. This exploration is almost touch, sometimes the
fingers themselves do feel, because „music… plays with them.”
One part of our therapy belongs to mental hygienics. It is for all of us, who need help
from time to time.
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Biblio therapies
ERZSÉBET HÁSZ
About the Fundamental Principles of the Bibliotherapy
“Primum vivere, deinde philosophare” – the paper will try to establish a probable order of
the theoretical work in the spirit of this motto from René Descartes while will describe in
outline some principles of the bibliotherapy on the basis of a clinical and a non-clinical
practice of twenty years furthermore an educational experience of nine years (bibliotherapy
education for psychologists,, teachers, librarians, social workers etc.).
ATTILA NAGY
Introduction of Bibliotherapy in Librarians’ Training in Hungary
“They say he feels no sorrow,
The one who sings a song,
But he only sings the song
To comfort himself.”
(Hungarian folk song)
In the last 3 decades the time spent for reading among Hungarian population, the number
of books published, the number of libraries and librarians have perceptibly decreased.
That is why it is our duty to dispute and prove the living truth of knowledge valid for
hundreds and thousands of years. Art – which we tend to turn away from – has an
uplifting, preparing, and healing power, even today. In our country so far anecdotic notes
have, but strictly controlled surveys have not yet proved the success of bibliotherapy.
Nevertheless our textbook – compiled for college and university students of library
science – called Reading Knowledge (Sociology, Psychology, and Pedagogy of Reading)
published in 1979, for the first time in the history of education library science, introduced
the expression of bibliotherapy on a basic level (hardly one page).
Our textbook, which was updated and re-edited in 1992, and the 4th volume of the
Librarians’ Handbook, which is considered to be a basic résumé of Hungarian library
profession, deal with our topic as well. As a result of our activity to enhance education, in
2003 in Hungary there is not one college or university teaching library science where
bibliotherapy is not part of the compulsory curriculum, and it should become an essential
part of basic knowledge of librarianship.
Movement and dance therapies
ALEXANDRA BÉRES
The Potentials of Body-shaping and the Effect of Psychic Factors
The questions are the following:
In response to the month-long special diet and workout-program,
- does the level of body-knowledge and body-ideal discrepancy change?
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- how is attention divided between different areas of the body, and do the patterns of
body-awareness change?
- which of the following aspects of body-awareness is the most affected by the program:
- private- social/public- or body-competence?
- accepting body-concept or self-concept: which is more affected by the appearing weightloss following the diet?
ANDRÁS TATÁR
Help arrives on horseback. The role of therapeutic riding in
modern rehabilitation
Horses have been a loyal help for humans almost since the start of civilization. They have
been serving us in every area of life, especially in transport and warfare. However,
technical development pushed their role into the background, and presented them with
new tasks. Most of us are lucky, as we have no mental or physical limitations to our
everyday activities and movements. But unfortunately there are some, who are less
fortunate, and who depend on others’ assistance all their lives.
Today horses have a significant role in sports and leisure, but they are also beginning to
come forward in the area of therapy and rehabilitation. They can contribute significantly to
improve the quality of life for our disabled fellow human beings using this new kind of
rehabilitation method. The equine facilitated therapy can be divided into three main areas:
HIPPOTHERAPY
Therapeutic procedure based on neurophysics with and on a horse, which utilizes the
similar movement formula of horses and humans. We can do an upper-body training
corresponding to walking with the active movement responses, posture and balance
reactions triggered by three dimensional movement impulses brought onto the body of the
rider sitting on the back of the horse.
THERAPEUTIC RIDING AND VAULTING
Its objective is general development and education. With special exercises certain mental
functions, and certain senses can be developed separately as well. The horse as a
significant factor of motivation also gets a role.
RIDING FOR HANDICAPPED (PARASPORT)
The introduction of the riding branch of sports for handicapped people worldwide carries
an immense opportunity for the integration of handicapped people.
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JOHAN DAHESE
Dance Therapy by Primitive Expression
The World Health Organisation defines “illness” as a perturbation of the equilibrium
between the physical, mental, psychic and social components of the human being.
If we consider this definition, we realise that dance, and Primitive Expression in particular,
provides an extremely efficient working tool to restore the equilibrium between these four
core elements of the human being. This is however subject to some constraints:
 At the physical level: dance should invite the whole body to move in harmony. It
must seek for the body well-being, inviting all the muscles to move in a smooth
and progressive motion.
 At the mental level: dance should translate into a structured form of expression.
It has to respect and memorise simple rhythmic structures and forms of
movements.
 At the psychic level: dance should be a communication mean to express one’s
desires and emotions. It offers a way to get closer to one’s own life.
 At the social level: dance must be performed in group. It must also offer the
opportunity for inter-individual exchanges.
A dance that gathers these four conditions will unavoidably have preventative and curative
effects.
SESSION II
Art therapies
VIVIEN MARCOW SPEISER, PHILLIP SPEISER
Using the Arts as Support for Cancer Patients
This approach offers patients multidimensional possibilities for expression,
communication and growth. It allows for explicit meaning-making through engagement in
creative processes, which include expressive re-experiencing and symbolic enactment
within the transitional space of playing. The Expressive Arts Therapies use an integrated,
multi-modal arts therapy approach, utilizing, art, dance/movement, drama and music for
the purposes of facilitating the emotional, cognitive, physical and social development of
the individual. According to Levine and Levine (1999), "Expressive arts therapy is
grounded not in particular techniques or media but in the capacity of the arts to respond
to human suffering" (p.11).
DAVID GUSSAK
Drawing Time: Art Therapy in Prisons
Note: Many of the case vignettes and photographs in this paper are from cases already
published in the author’s book Drawing Time: Art Therapy In Prisons and
Correctional Settings, and are done so with permission from the publisher, Magnolia
Street Publishers.
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This paper is based on art therapy in prison. As mental health facilities continue to close
and more prisons are built, mentally ill patients who commit even minor crimes are
becoming criminalized. At the same time, prisons often exacerbate already existing
underlying psychiatric problems. Accordingly, the treatment setting for the mentally ill
continues to shift towards correctional settings.
There are major challenges that therapists face working in forensic settings. There is an
inherent mistrust for verbal disclosure, and a well-grounded fear of other prisoners taking
advantage of others’ voiced vulnerabilities, resulting in rigid defenses built to achieve basic
survival. Thus, art therapy can be one of the more beneficial approaches to allow needed
expression in such a non-therapeutic environment. This paper will present eight specific
advantages of art therapy in prison, which will be supported through several case
vignettes.
GÁBOR MOLNÁR
Homeless People's Artistic Pictures
At least, 0.33% of the Hungarian inhabitants are homeless, who have a very difficult life.
Some of them draw and paint on an artistic level and their works allow us to know more
about the homeless people's feelings. 64 pictures made by 11 homeless people with artistic
abilities are analysed. Pictures are about the following topics: 1.animal representations 20%, 2. flower representations - 19%, 3. buildings - 13%, 4.landscapes - 11%, 5. portraits 11%, 6. surrealist works - 8%, 7.demons and monsters - 5%, 8.other mythological subjects
- 3%, 9.nonfigurative works - 6%, 10.country idyll - 1%, 11.other topics - 3%. Christian
motives and pictures refering to prison life can be seen also among the works. Animal
pictures generally express the pure beauty. The representation of friendship between cat
and dog, picture about eagle flying back to her nest with eggs speak about homeless
desires for peacefulness, home and security. The flying crane above the clasped human
hands is the symbol of homelessness. Pictures on flowers also wish to represent the pure
beauty. Buildings are usually large and respected, the church frequently appears on them.
Beside animal and flower figures, the frequent landscape painting also reflects the
homeless people's deep respect of nature. All of the homeless artists have their own,
independent styles. On of the, e.g., paints only in dark tonalities. None of them represents
the daily homeless life in a naturalistic manner. Against this, their works reflect their
attitudes to the world. On the pictures, life is beautiful, rich and well-ordered, only the
homeless people are excluded from it. They have gotten only the wild and cruel side of the
world. Several pictures represent wildness in forms of beasts, demons and dragons or with
nonfigurative manners. From the introduced artists, 10 are men and only one woman
presents the other sex. It is not accidental, therefore, that women are frequently presented
on the pictures. These women are beautiful but inaccessible. On one of the pictures,
wonderful, young and naked girl grasps the grating of the window, which is surrounded
with man-faces and another lady is sitting in an armchair on the top of the picture. The
representations of loneliness and suffering also appear on the works. Homeless people
need love, but it seems to them that the only source of love for the homeless people is
religion. In summary, the homeless art suggests that the art-pieces express the tragical
reality of the homeless life by indirect, transfigurative manners. The artists have strong
desires for beauty, home, nature and love.
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MARIA-ELENI CHARALAMBOUS, DIONYSIA ANAGNOSTOPOULOU
The Use of Colour In Art Therapy and Some Remarks on Coloured Genograms
The current paper is consisted of two parts : The first presents theoretical views and
experimental studies on the utilization of color in Art therapy. Researchers from a variety
of disciplines agree that colors have not only a psychological impact on human thought
process and behavior but may also have a psychological impact beyond people’s conscious
awareness.
In the field of art therapy the way people react and use color can provide important
diagnostic information since different colors evoke specific cognitive and emotional
associations in the individual. The therapeutic value of color has also long been recognized
as a means through which the art therapists and their clients can access the client’s inner
world. The use of color in a therapeutic setting can facilitate people to examine their past
and current life and resolve problems.
The second part describes some challenging remarks made on a series of genograms,
where a concrete art therapy technique has been used. These remarks give stimulus for
further research and scientific studies which can expand the usage of art therapy
genograms in assessment and treatment of individuals, families and groups.
TAMÁS TÉNYI
Nonverbal Psychotherapies in the Light of Results from Recent Infant Research
Recent results from psychoanalytically oriented infant research give a better theoretical
background for the practice of nonverbal psychotherapies. The findings of infant
observational studies by Ster, Demos, Emde, Beebe and others emphasize the essential
importance of early interpersonal relatedness during development, where the preverbal
nature of communication is central. The lecture explores issues as vitality affects, affect
attunment and amodal perception from these research area, which concepts can help to
conceptualise the happenings during nonverbal psychotherapeutic session. Corerelatedness and intersubjective relatedness are introduced from the author’s clinical
practice on music therapy. Interconnections of nonverbal methods and chaotic non-linear
dynamics will be also discussed.
TÜNDE VARGA
Art Therapy Camp in Nyírő Gyula Hospital, budapest, 2nd Psychiatry Department
The lecture presents the art therapy camp that we have organized twice in our department
(2002 July, 2003 January). The presentation is about the participants, activities, therapeutic
effects and it will be completed with some of the pictures, which were painted in the
camps. The participants are psychiatric patients who are interested in arts (fine art,
drawing, painting). There were 13 participants last year and 12 this year, half of them with
36
psychosis, the others with personality disorder, depression, anxiety disorder and
alcoholism.
Every day there were organized programmes as painting with oil, watercolours, glass
paintings, drawing with pencils, crayons, using clay, making montage. One of the
participants was poet with psychiatric illness who wrote a poem to each picture.
These patients together made a team; they worked together, helped, criticised and praised
each other. This therapy is a no-verbal communication channel, the language of selfexpression. Many people felt relieved after activities as cathartic experience. Some
participants mentioned that drawing or painting helped them concentrate. Patients became
more open-minded. One of them had had insomnia for many years, and it was solved after
10 days.
We indented to organize art therapy camp in our department every year. Our purpose was
to establish a tradition in our department.
JOSEFA FRENKEL
The Use of the Kinetic Family Drawing in the Exploration of the View Each Parent
has of the Family and the Identified Patient in Families that Have a Child with the
Asperger Syndrome
The Kinetic Family Drawing (K.F.D.) is used to explore differences and/or similarities
each parent has of his family and the I.P. in families that have a child diagnosed with the
Asperger Syndrome. The main variables studied are: Concept of Self, Concept of the other
Spouse and of the I.P. Child. Results expose lack of interaction among family members.
Both parents have as self- concept with a negative tendency. This has a direct influence on
their concept of the I.P. Child. People with the Asperger Syndrome have a predominantly
visual way of thinking. Therefore, early intervention through art therapy may prove
particularly successful with this population.
TSAPHIE ZOHAR
Remembering the Past - Living the Present
A Creative Experiential Process with a Group of Holocaust Survivors, Arad, Israel
This presentation describes a creative process done with a group of Holocaust survivors in
Arad, a desert-town in Israel. It shows how their past experiences influences their present
emotional state, and their ways of coping with deep anxiety and concerns about the
traumatic situation in Israel. The continuing terror-attacks and the threat of war, affected
the members in such a way that they feared a reoccurring Holocaust. That, in contrast to
survivors' belief that "Only here [in Israel] the Holocaust can never happen again" (1).
Survivors of mass trauma need their national identity as a source of pride, freedom and
support. The traumatic events however, caused them to feel only more confused,
frustrated and anxious. To alleviate these unsettling feelings, a joint collage was created,
which enabled the members to express and ventilate their emotions. The completed
collage portrayed their strengths as well as their fears and hopes. In the presentation I will
describe the process, the outcome and the conclusions resulting from the experience.
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JUDITH SIANO
Totem
Creating a Safe Place for Adolescents in Art Therapy
My presentation will show a 16 minute video of a “Totem” workshop in a forest with 27
adolescents, all traumatized children living in a boarding school, because their necessaries of
life were not met by their former environments (street, violent homes...)
For many years I have been preoccupied by the adolescent’s needs for creativity and
expression. I recognized their need for ritual and the creation of a “safe place”,
metaphorically, symbolically and concretely. Their creativity in this workshop is impressive,
so is their childlike expression of joy and freedom. At the same time, they tell us, verbally
and wordless, their personal story with a revealing depth.
TAMAR HAZUT
“Black has Also Shades”: Art as a Ritual for Coping with Loss and Grief –
Living in Israel Under Threat 2000-2002
This presentation pays tribute to the patients and therapists, the victims of hostilities in
Israel, whom I have met over the last few years. The chapter discloses the power of
expression and creation, while focusing on the role of black as a unique means of coping
with painful loss and grief, and presents the story of a group I guided during 2000-2002,
helping them to cope with traumatic experiences, using the techniques I have developed for
therapeutic intervention through art. I have followed the group in its transition stages from
an optimistic start to a dramatic crisis and from there to the mobilizing of strength and
hope.
BOBBI STOLL
A One-Day Art Therapy Group Helps Trafficked Women in Bosnia-Herzegovena
(BiH) Overcome Traumatic Symptoms
Trafficking of women in Bosnia began during the 1992-95 war and continues unabated. It
has become a big business that traumatizes hundreds of young women and girls. A social
worker and wife of the U.S. Ambassador to Bosnia, was committed to rescuing young girls
from forced prostitution, their post-traumatic recovery, and repatriation. To this end, she
invited me to Sarajevo to conduct an intensive art therapy group for five severely
traumatized young girls from Moldova.
In spite of triangled language translation, drama and graphic communication provided
channels for universal expression of highly stressful thoughts and images and a means of
empowerment to move from “victim” to “survivor.” Creativity replaced language; anger
surfaced from immobilizing fear; expressiveness overcame withdrawal; weakened
characters grew stronger to dramatize self-protective features and five very different young
women emerged to wash away any tinge of “victim” in the swimming pool at the
conclusion of the group.
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CARLES RAMOS I PORTAS
The Experiential Art Therapy Group in the Training of Art Therapists
This paper is based on the experience of five years work in the Masters in art therapy of
the University of Barcelona. It discusses the experiential art therapy group as an essential
element in the postgraduate training of art therapists. It describes the features of the
experiential art therapy group, its aims, its contradictions, and it also gives some guidelines
on how the conductor can assess his interventions in order to better help the group
achieve its goals.
SIBYLLE CSERI
Art Therapy in Mainstream School Education
The paper will discuss the role of art therapy in mainstream school education as well as my
own experience as an art therapist in a mainstream secondary school in Barcelona, Spain.
The argument for my presentation will be based on the experience of various art therapists
working in this field, as well as on my own experience.
Over the years behavioural and learning problems in classrooms have become more and
more of a concern to teachers and parents alike. It is a very complex and problematic
issue, due to increasing cultural diversity, problematic family situations, traumatic
experiences, social and peer pressure. These situations carry symptoms with them such as
lack of concentration, disruptive behaviour, low self esteem, eating disorders, depression
and so on. For this reason psychological support needs to be offered for the children.
Many children however, often have great difficulties in expressing their problems and
worries verbally, and for this reason art therapy can offer them an alternative means of
expression.
FERENC KEMÉNY, GYÖRGY GHYCZY
Juhos Károly’s Art Therapy Rehabilitation at the Open Studio
This paper will present the activity of the Open Studio. This Studio works in a house for
pensioners but not only for seniors: all citizens of the Budapest VII th Town District have
a lot of possibilities to try out how the fine arts help in the creative self expression both on
a hobby level and made approaches to the professionality.
The lecturers will present some concrete examples, too.
Music therapies
SESSION III
AHMET BÜLENT ALANER, GÖNÜL KIRCAALİ-IFTAR, AYTEN UYSAL,
MESUT TUNCER
A Creative Music Therapy Application on an Autistic Child
The music is defined as the voices created as compound together with aesthetic perception
in accompaniment of silence.
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The aesthetic concept in music was initially suggested by Philosopher James Mursell.
Mursell, in his work “Human Values in Music Education” describes aesthetic concept as
follow:
“Music neither paints nor narrates story nor has system of concepts easily expressing its
opinions. It does not paint the sun set for us, does not narrate the story of forbidden love
again. Music takes its emotional core from its own tone. It is a psychological truth.
Therefore, music is the purest and most emotional one among all arts.”
Music is an activity of human being. There will be neither musical sound nor Works of
musical sounds without motion of human being. If the music is deliberate movements of
human being, then it must have at least three dimensions. However, music has a fourth
dimension owing to its special position.
NIKOLAUS BUZÁSI
Music Therapy for 30 Years – Experiences
The paper concerns his thirty years of experience in music therapy.
Education of therapists takes centre stage. He compares the various German-language
models.
ERNESTINA VIZIN OFFENBACHER, SLAVICA VUKASOVIC RADULOVIC
The Music Group of the Gerontology Center in Subotica - What is it About?
The initiation to take part into the I World Congress of Art therapy in Budapest, was the
youthfull experience of our pensioners, living in the Home of Elderly and Hospital part of
the Grontology Center in Subotica. These people, whether they are healthy or with
troubles and disorders, with their teacher (leader and moderator) Mrs Ernestina Vizin
Offenbacher, have such wish, endeavour, knowledge and expression in music, singing, that
we, their stuff and friends, are amused and attracted. So, we are their collaborators and
fans.
Following their singing, we are the witnesses of the enthusiasm and development of
human capabilities and living sources. To measure the splendid changes music can bring
people and people can bring themselves and around, with the music, is the clumry
process, somehow. It was the best to write, in soul, heart and nerves... Write a long, fine
story, as their music is. So, the paper has the features of the essay with the subtitles and
some information, when needed. They are: who we are? what is our music activity? what is
our music program? music – what happened in people and around? A few words of the
teacher; and, at the end....
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KATALIN NAGY, CSABA SZABO
Individual Differences in Musical Experience and its Therapeutic
Implications
Listening to music induces particular experiences in the listener. There are
individual differences in these experiences that may depend on personal
characteristics and the type of listened music. Present study aimed to uncover
differences in musical experiences regarding the degree to which one can usually
be involved in music and type of music. 85 university students – involvement
previously measured with a questionnaire – listened to one of three musical
pieces. They reported about their experiences in a free report, in an interview,
and in a questionnaire (Phenomenology of Consciousness Inventory). Reports
were content-analysed and compared considering depth of involvement and type
of music. The factor scores of the questionnaire were compared between groups,
too. Results show that intensity of involvement and type of music have
significant effect on musical experiences. These results help us choose the
appropriate music for the person in music therapy and predict what effects can
be expected from music-listening.
The Scientific Research was supported by OTKA T043394.
RAUL JAIME BRABO, RENÉ HENRIQUE LICHT
Musical Hearing and Responses to Moral Dilemmas
Musical hearing can be understood as a main resource of receptive method in Music
Therapy. A person in a comfortable position is stimulated by a sonorous stimulus (an
excerpt of music heard via headphones) to facilitate musical experience, giving priority to
attention and concentration to the musical stimulation, that is, the musical hearing.
Music is a phenomenon which can be found in all civilizations and its universality goes
against the idea of simple entertainment. A careful look can reveal the direct interference
of music, acting on people on somatic and psychic levels. There are several examples of
the use of music in a scientifically controlled way. This means that musical experience can
be studied far beyond simple entertaining activity.
Music offers us something fascinating, associating a kind of naivety to its perception, the
musical hearing. So, we must review this naivety as well as avaliate how music can bring up
positive and negatives results. It is fundamental to discuss this matter in the construction
of the character of the young, bearing in mind that music is an important part of their
lives. It is fundamental to be aware of the importance of a responsible look into the
musical hearing, to enable the contribution to a cultural repertoire for the young as a tool
for a healthy and democratic musical hearing for the practice of citizenship. Therefore, this
paper aims to investigate the influence of musical hearing in young people’s responses to
moral dilemmas.
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HELENE CENTURY
EVA: A Case Study in Music Therapy
This is the case of a little girl 4 1/2 years old when she began therapy, and has been in
treatment for 2 1/2 years now. Eva's diagnosis was "global developmental delay." She did
not talk or walk, was not interested in any object and just lay on the floor, looking and
smiling at people. Now she can feed herself, walk, run and jump, but still does not talk,
although she chats in gibberish. She attends a Centre where she follows a variety of
therapies, including music therapy. This paper presents Eva's evolution during the first
year of her music therapy treatment, describing the music therapy techniques used, giving
some precise examples, and concludes with the current situation.
ANNA FEKETE
Archetypal Regression in Integrative Music Therapy
In the psychotherapeutic process, coming to certain difficult emotional contents – like e.g.
the Bálintian area of the ’basic fault’ – might confront the patient with the realization that
tuning into and fully experiencing his painful emotions will not make them go away.
In my paper I will make an attempt to draw a parallel between certain aspects of Jungian
archetypal regressive work in integrated music therapy and Buddhist meditative practices
by focusing on one particular phenomenon: the attentional shift from the emotion to the
identification with the emotion by questioning or relativizing the fixed, objective nature of
the subject of experience: the “I”. These investigations might help to find possible ways of
dealing with painful emotional material of existential dimensions.
Complex therapies
SUSAN BAWAB
Assessment of Self-image in Adolescent Boys with Oppositional Defiant Disorder
Using Animal Medicine Cards
Antoine Has A Razor In Heart
The record says they suspect
That Antoine has a razor in his heart
He comes to the asylum in the
Winter of his eleventh year
He is failing in school
He is fighting at home
He is always angry
He is running away
He bangs his head
He punches his face with his small
Dark hands till his face bleeds and his hands bleed
Yes, Antoine has a razor in his heart
(Moon, 1994)
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This poem by Bruce Moon (1994) could describe the thoughts, desires, and feelings of an
adolescent boy living with Oppositional Defiant Disorder. Studies estimated that the
prevalence of Oppositional Defiant Disorder, also known as ODD, ranged from 2% to
16% of the population according to the American Psychiatric Association. ODD typically
emerges during early childhood. The behavior that characterizes this disorder includes
defiance, hostility and arguing and is more prevalent in boys than girls before puberty.
If not treated, ODD may persist and become increasingly complex in adolescence, which
can lead to delinquency along with the probability that this child could become an
aggressive and hostile adult.
IOANNIS TARNANAS, DIMITRIOS ADAM
Sonic Intelligence as Virtual Therapeutic Environment
This paper reports on the results of a research project, on comparing one virtual
collaborative environment with a first-person visual immersion (first-perspective
interaction) and a second one where the user interacts through a sound-kinetic virtual
representation of himself (avatar), as a stress coping environment in real-life situations.
Resent developments in coping research are proposing a shift from a trait-oriented
approach of coping to a more situation specific treatment. We defined as real-life situation a
target-oriented situation that demands a complex coping skills inventory of high selfefficacy and internal or external “locus of control” strategies. The participants were 90
normal adults with healthy or impaired coping skills, 25-40 years of age randomly spread
across 2 groups. There was the same number of participants across groups and gender
balance within groups. All 2 groups went through two (2) Phases. In Phase I, Solo, one
participant was assessed using a three stage assessment inspired by the transactional stress
theory of Lazarus [1] and the stress inoculation theory of Meichenbaum [2]. In Phase I,
each participant was given a coping skills measurement within the time course of various
hypothetical stressful encounters performed in two different conditions and a control
group. In Condition A, the participant was given a virtual stress assessment scenario relative to a firstperson perspective (VRFP), Condition B, the participant was given a virtual stress assessment scenario
relative to a behaviorally realistic motion controlled avatar with sonic feedback (VRSA), Condition C,
No treatment Condition, just an interview, (NTC) In Phase II, Groups, all three groups were
mixed and exercised the same tasks but with two participants in pairs. The results showed
that the VRSA group performed notably better in terms of cognitive appraisals, emotions
and attributions than the other two groups in Phase I (VRSA: 92%, VRFP: 85%, NTC:
34%). In Phase II, the difference again favored the VRSA group against the other two.
These results indicate that a virtual collaborative environment seems to be a consistent
coping environment, tapping two classes of stress: (a) aversive or ambiguous situations, and (b)
loss or failure situations in relation to the stress inoculation theory [3]. In terms of coping
behaviors, a distinction is made between self-directed and environment-directed strategies.
A great advantage of the virtual collaborative environment with the behaviorally enhanced
sound-kinetic avatar is the consideration of team coping intentions in different stages.
Even if the aim is to tap transactional processes in real-life situations, it might be better to
conduct research using a sound-kinetic avatar based collaborative environment than a
virtual first-person perspective scenario alone. The VE consisted of two dual processor
PC systems, a video splitter, a digital camera and two stereoscopic CRT displays. The
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system was programmed in C++ and VRScape Immersive Cluster from VRCO, which
created an artificial environment that encodes the user’s motion from a video camera,
targeted at the face of the users and physiological sensors attached to the body.
JUDIT HARKÁCSI , ANIKÓ KOCSIS
Group Therapy for Children Using Complex Methods
In our presentation we would like to share the experience we gained in the past six years
using complex methods to reduce anxiety for 5-7 year old children. There are 8-10
children in a closed group. The group therapy lasts 10 weeks. Each session is two hours
long and has a given structure. We combine relaxation-imagination-dramatical playcollective creative work to influence self development in a positive way and give corrective
feedback to the children. Each session has a leading symbol which determines the creative,
imaginative and dramatical techniques. These symbols are H. C. Leuner’s KIP symbols
expanded with a few more. In relaxed state children imagine the given symbol which is
followed by a dramatical group play in which they can express their images. After this we
offer different creative techniques to create a work of art. We start every session with a
warm-up game which helps to develop group cohesion and facilitate communication
between the members of the group. We close the sessions listening to a tale in a peaceful
atmosphere. We use many tools in the group. During relaxation and creating pieces of art
we always listen to musi . Working with the parents is an important part of our work. The
follow ups showed positive changes.
SABINE ROSENBERG PATZER
An Introduction into “Guided Imagery and Music”
This workshop will give an introduction into “Guided Imagery and Music”, a receptive
music therapy with classical music which integrates relaxation and painting.
There will be some practical examples where the participants can experience the powerful
effects of this method.
After a short relaxation exercise, the participants will listen to some of the classical
“Guided Imagery and Music” program. The music will take them into inner images and
they may get in contact with a lot of emotions. After this music journey they will draw a
mandala, where they can express their experience on paper.
Besides this practical exercise some information on “Guided Imagery and Music” will be
given.
Description: At the 9th World Congress in Washington/USA in 99 “Guided Imagery and
Music” was chosen as one of the leading, internationally accepted music therapies.
The violinist Dr. Helen Bonny developed this method in the beginning of the 70s in the
United States. She chose classical music as a therapeutic tool, because it helps to open the
door to one` s soul easily and one can quickly access one` s inner world. The music plays
the role of the co-therapist and it can provide many insights. Especially classical music
with its complex rhythm, its diversification in instrumentation and its thematic variation
offers a depth and variety and therefore has a deep therapeutic effect.
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DORA VARVASOVSZKY VELSZ
Music Improvisation an Easy Method
The presentation aims to introduce an easy music therapy method to develop individual
skills and abilities in various disorders, assisting and leading to treatment (1, 2). In a
broader sense assisting individuals towards expressing themselves, being able to experience
joy, interact with others, turn from daily matters towards the bigger picture and the beauty
of nature, and improving manual skills are treatment themselves. Life itself, but also even a
day is full of unexpected situations and events. These need spontaneous response,
“improvisation”. Playing with music instruments improvisation skills and abilities can be
tested and developed helping to be more prepared for life situations.
The method has developed from the following themes (Figure 1): (a) A human individual
is a creature of nature, however (b) the natural context of individual existence is within
society, societal groups, responses and interactions. Hence (c) disorders can be interpreted
and translated in this context relative to societal norms and actions. (d) Symbols help to
establish the link between nature and society for the individual. (e) Symbols can be
translated through and by music, instrumental musical improvisation. (f) Via musical
improvisation the reaction to the environment (also societal) and interaction with the
group is manifested. In this way options for the individual to react, interact and develop
are enhanced by a different quality: music.
PEGGY CLARKSON
Creating Hope: Art and Therapy With Suicidal First Nations Youth
This paper will introduce the topic of First Nations youth suicide from the perspective of
a West Coast Canadian Registered Clinical Counselor and Registered Art Therapist. Our
goal in treatment is to enhance the courage and hope to live, within the face of
demonstrating the courage to die. The author's intention is to educate clinicians and
increase awareness of the multiple and complex factors which put First Nations youth at
risk and differentiate assessment and treatment methodologies and modalities from other
Non-Aboriginal populations. This includes art therapy treatment in rural, isolated
communities from a perspective that includes history, family and community. The author
posits that treatment will be enhanced by doing art and envisioning youth suicidal feelings
and intent from a frame of multiple losses. Therefore, healing paradigms involve the
development for the youth identity of multiple meaning within family, society and self.
AURELIJA GURINAVIČIENĖ
The Therapeutic Influence on Children of the Play
Children with Emerald Eyes
The purpose of this report is to present the Incubator Research Project. This project is
based on psychologist Mira Rothenberg’s book about children with emotional problems,
45
Children with Emerald Eyes. Two histories from this book were chosen: “Johnny’s Story”
and “Sarah.” This project was carried out in the following stages:
 Theatre lessons for children.
 Reading and analyzing the histories in the classroom.
 Observing handicapped children and playing with them.
 Performing the play for children who are not handicapped and for handicapped
children and their parents.
 Conversations after the performance.
Conclusion: Children can recognize within themselves the feelings and experiences of
stage characters and respond to children with emotional problems. Performing and
reading these histories encourages children to express and discuss their opinions.
UWEM JONAH AFANGIDE
African Arts: Handycrafts, Folksongs, Rhythms and Dances
Exclusive because it is original, first handed, from knowledge passed on from generation
to generation by my ancestors. I shall sing, dance and demonstrate how a native
African healer conducts his daily healing work.
For me, for one to talk about ’African Arts’ is confabulatory. Africa, just like any other
continent of the world, has as many types of art as the number of her tribes and languages.
In fact, art is typologically tribal, but in function, unique. Artistic connotation is influenced
by differences of language, geographical condition, customs, religion and level of
civilization. In a given tribe, the nature of arts is determined by the result of the interaction
of custom , religion and civilization.
The universal functions of arts include
Development of fantasy
Expression of aggression
Sensory .stimulation
Education, communication
Entertainment
Caricature-criticism
Imitative, modelling
In traditional medicine, which is very popular among Africans, the native healer uses
different modality of arts, like singing, dancing, role playing with symbolic masks and
locally made instruments, to help clients.
Developed and master specific motor and social skills,
Practise and developed language skills,
Express imaginative or symbolic content,
Repeat and work-through stressful or overwhelming experiences, abreact
express and work-through intrapsychic disturbances.
Arts and plays, in addition to their developmental, societal and therapeutic functions, can
also serve diagnostic purposes: They can be used to assess patients in relation to:
communication skills,
areas of concern ,
46
general development (of child).
That artistic expressions, from simply listening to making music, from rhythmic bodymovement to dancing, drawing and painting, stage acting and recitation, possess enormous
therapeutic potential is undebatable.
Handy-crafts are manual activity that most patients can find interesting; they can also help
therapist gauge client’s therapeutic response.
In conclusion, I like to say that the functions of arts as a non- chemical therapic modality
are unique everywhere in the world. What differ are the language, the target audience and
the so-called ’therapeutic milieu’.
MIHÁLY ARATÓ, SIMON CSORBA
Runningarttherapy – Video
The 17 minutes long video illustrates our eclectic training technique for students who are
interested in art and psychology. This method combines a physical and psychological
warm-up., with elements of relaxation, meditation and imagination. The following long
distance run in gourd serves several goals. The collective creative activity and painting is
the major components of the all day (8 hours) training session, which was a special part of
a series of sessions with increasing physical efforts. The “runningtherapy” supposed to
provide some experience for beginners in a variety of techniques, what can help the to be
teachers to use the elements of these methods in teaching, especially to help children with
special needs and emotional disturbances
WORKSHOP 1
Theories
ATTILA SASVÁRI, MÁRTA MERÉNYI, MÁRIA SIMON, TAMÁS TÉNYI
Integrative Art-therapy
The conceptional, structural matter questions of postgraduate Art-therapy training,
initiated and elaborated by the Medical and Art Faculty of the University of Pécs, are in
the focus of the lecture. The lecture gives a short overview of the beginning and the
results of the Hungarian art-therapy praxis and of the appearance of the demand on
specifically trained professional (he Art-therapist). The lecture reviews the subject matter
and historical aspects of the first Hungarian music-therapist training, display the activity of
the “Art-therapy Workshop of Pécs”, the appearance of the demand on integrative arttherapy training, the subject matter and formal questions of the training, and the expected
task and results of the future.
Theatre therapies
MADELEINE LIONS, MARIE-HÉLÈNE POTTIER
Puppet Theatre and Art Therapy in France
47
An art therapist is someone who is an accomplished artist who has been trained as a
therapist.
By sharing his emotions and in training the patient, the art therapist brings out an
unknown artistic potential in the patient as in the carer. He brings pleasure, sharing,
rapport, confidence and above all a sense of belonging to the human race to a sick person
who is entitled to remain foremost a human being suffering from a disease which we are
trying to cure, or at least to relieve, and to make the unbearable, bearable.
In the therapeutic workshops where we use puppet theatre as a medium we think it
essential the each patient constructs and creates his own character; carers should not
interfere, but accompany with the greatest possible encouragement the emergence of this
creation. A sculptor said: It is not I who sculpts, the work is already there and only needs
to appear.
Cinema and Photo therapies
ANDRÁS STARK, MÁRIA HORTI
The confusion of languages in the sexual communication. Psychotherapeutic
analysis of Atom Egoyan’s film “Exotica”
Sándor Ferenczi has worked aut the conception of the confusion of languages in the adultchild connexion with funda,ental conclusions for the psychotherapy, too. The question is
inseparable from the modern conception of the rise and effect of psychic traumata. In the
focus of my interest in the field of couple therapy are the conflicts of the sexual role,
aggression and love, expression and experience of sexual intimacy and affection.
I increasingly am under the impression that the seasoning of the Ferenczi’s
psychotherapeutic thoght about the confusion of languages to a way of looking can help
to a high degree in the understanding of the connexion disorders.
Atom Egoyan filmdirector was born in Egypt, he is Armenian by origin and live at
Canada. His work “Exotica” is one of the most original artistic reflexion of this question
that seems to be connected with the transformation of our fundamentral assets in the
sexuality, sexual roles, family life, and the transformation of our cultural stereotypies on
the close of the millenary.
We shall see collectively the film. Its analysis will be a closed workshop on the basis of the
above-mentioned point of views.
Music therapies
LÁSZLÓ HARMAT
A Case Study of the Music Therapeutic Results in a Self-Analysing Class
I conduct a class with clients having psychosocial and behavioral disorders. Its main focus
is to help people to bring up suppressed feelings with the help of music, relaxation, and
creative activities. 6-8 individuals work together in one group for three hours in every
second week. Music, related to a given theme (spring, fire, earth etc.) in each session,
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supports the clients to express their thoughts and experiences. They also acquire simple
relaxation techniques that can help them in their lonely moments.
I demonstrate the progress of a young woman suffering from anxiety in discovering and
expressing her inner suppressed dynamism by her drawings made while listening to music.
We can follow the more and more confident delineation, the increasing usage of colors
and drawing space. Music was found to be not only a source of resumption for her, but it
also helped her to endure the every-day life burdens.
ZSUZSANNA HEGYI
Binding and Solving
Short Experience of Music Therapy at an Inpatient Department of Psychiatry
Music is a non-verbal or prae-verbal way of communication. Psychiatric illnesses have a
special influence upon the contact between the mood, the emotionality and the
communicative ability – frequently that is inhibition. We attempted music to dissolve this
inhibition.
We had a small, open music therapy group of hospitalized adults with mixed mental
illnesses, various ages, and phases of severity. According to the proof of simple
anonymous self-valuing tests of the twenty sessions the number of participants with
impassive and negative or tensive mood at the beginning decreased into halves to the end.
By the view of the therapist the final conversations changed from a forced and superficial
to a dissolved and personal tone. - Here are some of the beneficial effects of music
therapy of adults with mental illnesses.
MOVEMENT AND DANCE THERAPIES
ANLENOR FISKE
Dance/Movement Therapies
This workshop will take its participants through the application of Dance-Movement
Therapy at a Social level using the characteristics of National Dance, Laban Effort-shapes,
body awareness and rhythmic interaction. From here we will examine and Educational
application using concepts such a midline crossing, developmental stages (Erikson); fine
and gross motor coordination; structural enhancement and creative action =Shakes and
ladders). The final section will look at aspects of D/MT appropriate for a Clinical
situation; e.g. Espenak, Cace, Laban.
Participants will be invite to use their own creativity in order to keep the work dynamic
and accessible to all levels of training. It is the aim of the work to stimulate the
development of movement “conversations” appropriate to each situation.
Please wear clothing suitable for moving and floor work.
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GRIT KÄMING
The Effectiveness of the Use of Therapeutic Riding in Child- And Adolescent
Psychiatry: First Results of a Systematic Single Case Study
Aim
The objective of the study was to determine the impact of therapeutic riding on children
and adolescents presenting with a variety of child psychiatric symptoms. The focus was on
measuring changes in a number of different areas, such as the form and severity of specific
symptoms; family relationship patterns; levels of children's concentration and attention
spans, as well as their physical coordination.
Methodology
13 child psychiatric out-patients between the ages of 10 - 14 participated in the study.
There were two separate assessments, before and after the intervention (riding), permitting
a sequential analysis of the data. Prior to the intervention standardized psychological test
procedures were used. For the purpose of undertaking the sequential analysis, individual
symptom questionnaires were filled in on a daily basis over the course of the whole study,
by each the patient and by one of the parents. Each patient took part in the therapeutic
riding sessions on 10 occasions, one hour each week.
Results
Following the intervention there was a marked improvement in the subjects' ability to
concentrate as well as in their body coordination. It also became evident that there was an
increase in the emotional connectedness between the patients and their parents. The child
psychiatric symptoms of all patients were reduced to varying degrees. With regard to the
initial presenting symptoms, it was shown that therapeutic riding had more positive effects
on children presenting with anxiety and conduct disorders, than it had on children
presenting with ADHD.
Discussion
This project, based on single case studies, has demonstrated the positive effects of
therapeutic horse-riding. It is hypothesised that with a larger number of subjects, more
general conclusions could be drawn regarding the therapeutic potential and effectiveness
of this form of treatment..
JÚLIA ANTOS, KRISZTINA TORMÁSSY
The Humanogramm - An ‘Integrated Expression- And Dancetherapy’ (Ikt)
Method
The IKT (Integrated Expression- and Dancetherapy) was founded by the german psychotherapist,
Wilfried Gürtler. His institute, (CITA-Centrum für Integrale Tanz- und AusdruckstherapieAusbildung) is offering training program in Hungary since 1997.
This method is based on the healing power of expression. Besides movement and dance, IKT uses
the integrating effect of music, visual expression and drama, as well as ‘authentic movement’,
imagination, personal symbols and rituals. The process helps the individual to find his/her selfhealing potentials, hidden resources, and thus to improve the quality of his/her life.
The Humanogramm is one of the most extensively applicable method of IKT. It provides a
structure, in which the current issues of the client can be explored through the different qualities of
50
life, in ten essential „spaces”. The Humanogramm is a ‘psyche- and lifemap’, a therapeutic and
creative playing method that offers orientation points. In various ways we may step on this map
that is brought to life by our movements and expressions, while remembering that we are the
creators of the landscape, and therefore we have the potential to recreate it.
This method can be used in everyday decision-making situations, in cases of crisis or during longer
therapeutic processes, both in individual and group settings. The participants of the workshop will
find out more about the practical applications of the Humanogramm through exploring personal
questions.
ADRIENNE INCZE, KATALIN VERMES
Dance- and Movement Therapy Workshop
Human motion is the most ancient structural forming of time and space, the first
creativity. All sorts of art derive from it.
When dance- and movement therapy uses bodymind work and improvisation, it works
with unconscious creativity.
The body states that arise during this process get to the group’s psychodynamic space. The
visual, verbal and body associations lead towards further possibilities of procession,
through verbal and non-verbal ways as well.
Improvisation, as an individual genre, was born at the beginning of the last century.
Through the modern and postmodern dancetheatrical experiments and performances, the
stage work created an experiential base that encouraged participants to intensive selfknowledge.
In the ’60s the improvisational workshops and schools spread all around Europe and
America. Motional improvisation began to be applied as a medium of self-knowledge and
therapy. There were/are several initiatives in Hungary also. Creating a coherent attitude is
the result of a shop work of many years. The work was set off by Márta Merényi. It
embraces healing, training, experimentation and thinking about motion.
The leaders of the workshop were trained here.
Katalin Vermes works as a dance- and movementtherapist, a psychiatrist and a
psychotherapist. She has been working as the leader of self-knowledge groups for five
years. She is an instructor at the University of Physical Education.
Adrienne Incze is a dance- and movementtherapist, a psychiatrist and a psychotherapist.
She has been leading therapic and self-knowledge groups for twelve years. Besides, she
works with ambulatory patients.
The aim of the workshop is to provide opportunity for the participants to obtain personal
experience. We open the improvisational situation for those who meet the method the
first time and for those who bring their experience in movement therapy with themselves.
The group leaders help participants with instructions in order to facilitate them to access
the perception and motional expression of their inner states through relationships and
individual work as well. We do not aim at fixed interpretations. Both motion and words
are creators of the process and meeting-points of understanding and correcting. Through
improvisation, the states, feelings, changes and motions appearing to be accidental of
those present get place in a common space.
Hereby, we would like to ask the participants to come in socks or barefoot and in
comfortable clothing suitable for free motion.
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WORKSHOP II
Art therapies
MÁRTA VARGA
Therapeutical Effects of Arts in Education
As a result of the social and economic changes which took place in the last decades,
educational institutions are less able to fulfil the various expectations they face (remedial
functions, talent nursing, handover of common knowledge, improvement of skills). As a
response to these requirements, a range of foundation-based and privat schools has been
established, looking for new answers to the questions of the public education. Both
schools following patterns developed in other countries – such as Waldforf, Montessori –
and those elaborating their own methods – for example, Novus and Burattino – included
educational elements/features of arts in their pedagogical conceptions, and, thanks to
these, they proved to be more efficient than schools using traditional methods.
1. As opposed to those mentioned above, Elő-Tér Primary and Art School in the
7th dictrict of Budapest has been established from a primary school and an art
school, the latter being primarily concerned with talent nursing. As the financial
supporter of the institution, the local council of the district decided their joining
based mainly on material reasons. From the experiences of the last three years,
certain advantages of the effects of arts in education became more and more
obvious. Looking at a particular situation, I want to highlight some of these
positive effects.
GABRIELLA IMRE
Visual Psychotherapy: Theory and Practice
The presentation starts from clear-cut theories in using and indicating psychotherapeutic
methods of verbal psychoanalytically oriented therapy or visual psychotherapy (VP). The
author summarises and illustrates useful indications of VP. Starting from practical
experiences, the paper presents how changes and alternations happen, resulting in shifts of
therapeutic approaches/methods from visual to verbal and from verbal to visual. The
therapist tries to follow these alternations, seeks understanding patient, process and
relationship and also tries to take possible advantages of these. Learning from the patients,
practice and trying to find additional theories have led to a conscious combination of
verbal and visual methods.
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MAGDOLNA GÁCSER, TÍMEA TAKÁCS, ZSUZSANNA FIERPASZ
The Representation of Traumatisation from a Visual
Psychotherapeutic Point of View
Drawing is a method of natural self-expression of children. The diagnostic and therapeutic
value of visual representation is well-kown. The pictures - used instead of words and
carrying concentrated contents - often make refused and denied contents visible.
We choose this method for the reason, beason, because the children are very difficult to
tell about somethyng the lived trauma. It influences the therapy.
In the course of our examinations we analysed the visual psychotherapeutic material of
paediatric psychiatric patients and also the pictures, visual images of children and
adolescents having experienced war traumas.
We studied it in the refugee’s camp, in Békéscsaba. The material mentioned above has
been compared with works expressing emotions drawn by mentally healthy children.
Our main objective was to reveal the trauma experienced by the child, bring it to the
surface and adopt it as therapy - using nonverbal approach.
We believe that the method of visual psychotherapy is suitable for screening, rating, and
also for diagnostic and psychotherapeutic purposes.
The presentation will be illustrated some pictures.
ESMINA AVDIBEGOVIĆ, MEVLUDIN HASANOVIĆ
Art Therapy In The Prevention of Schizophrenic Relaps
-Case ReportA case report of a male patient, 44 years old, with diagnosis Paranoid form of
Schizophrenia authors present in this paper. The first schizophrenic symptoms of this
patient had been manifested 15 years ago with brutal murder of his own spouse. After
forensic assessment he had got a measure of permanent hospital keeping and treatment to
the end of his life. During the war in Bosnia and Herzegovina psychiatry institutions
became devastated, so this patient spent five years under the psychiatry treatment into the
Psychiatry clinic in Tuzla. During that certain period of time in his psychical status nonsystematized delusions have been presented permanently, while hallucinations and
psychomotor unrest have been presented from time to time. During the hospital treatment
he has painted and draw by his self initiative. Drawings and paintings have expressed
disintegration, dissociation of his personality. His talent has been used for involving him
into art therapy. Drawing and painting was significant diagnostically-prognostic indicator
for correcting of medicament therapy. After repeated forensic observation and new
assessment when he has got another measure, obligated treatment in outpatient
conditions, he was involved in User Association “Fenix” with the program of art therapy.
Every day’s application of art therapy in the combination with pharmacological treatment
resulted with prevention of hospitalization in the recent three years with pretty well social
functioning in secure environment for him. By following up of drawings and paintings it is
possible to anticipate for coming fazes of worsening. Art therapy helps the patient to
express his inner experiences as well as to share the same with other members of user
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group. In hid drawings abstract appearances of unknown world and schematization
dominate.
CS. F. MARTA NEMES
Symbols of Fine and Dramatic Arts in Preventive Influence
I set as an aim to make acquainted the deleterious effects of the deformed social scales of
values, which appear all over the world.
I look for ways to compensate them and to stop this process in the interest of healthy
descendants.
There are two important possibilities of preventive influence:
1. To change view of mind, attitude
It is much more effective, if circumstances and consequences can be presented together, in
new aspect, as an power’s-, interactive-, stuctural -, and an educational system with
symbols of fine arts and of natural science.
These symbols we show you on title pages, in contents, and summaries of specialbooks.
2. To change of behaviour
We can produce such circumstances, that we must pay attention several times and
intensively to the consequences of our act, take into consideration the opinion of other
member of family. This is possible during talks with whole family to get informations
about family histories in both sides, to know the present problems, and different points of
view. So we can find together useful solutions to problems.
We change negative behaviour to positive, by creative music and artistic-group, putting
somebody in charge with responsability etc.
ISTVÁN PLATTHY, KÁROLY LUDVIGH
"Csontváry Art Studio.
The Application of Drawing Therapy on Foster-home Children, for Developing
Internal Vision"
The Csontváry Fine Arts Studio operates in the Pécs Foster Home. I would like to present
an art education and drawing therapy method applied in this child-care center.
Natural visualization is an inborn skill, which through the help of ancestral images
provides the opportunity for formulating our personal relationship with the world itself.
This skill emerges in early childhood and kindergarten years, as a result of social triggering.
Its outstanding results in human culture have been maintained in folk art, tribal art and
ancient arts. Unfortunately, as a result of modern mass culture and inappropriate public
educational practice, this skill gradually disappears from child imaging. However as a
fortune, the ability itself is never wiped out, it is only refrained in the deep of the soul, in
the world of the unconscious.
In my presentation I introduce an art educational and drawing therapy method, which is
able to recall natural visualization and internal vision. The method may successfully be
applied on school-year children, teenagers and even adults. This way they shall again be
capable of utilizing their internal visions, which projects the internal contents of the
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unconscious soul. With the help of ancestral images they will be able to formulate and
recognize their internal worlds. The method is built on an ancient East-Asian Taoist
drawing educational procedure. With the help of internal vision thus developed, the
hidden world of the personality is formulated first, in the form of "personal myths",
making it applicable for therapeutic aims. These unique drawing formulas will be analyzed
in the drawings of emotionally injured children and youngsters in foster-homes.
JANO MILKOVIČ, BARBARA KARIŽ
Art Therapy In Psychiatrical Setting – The Slovene Model
Fine Art Therapy Method with Application of Music
We are going to present the art therapy approach which has been used at the University
Psychiatric Clinic of Ljubljana, Slovenija for over 15 years.
Art therapy is practised in groups and has a fixed structure. It consists of three parts:
listening to music, art making (drawing) and discussion of one’s experience.
The basic principles are: non-directive approach, openness, development of emotional
potentials, the acceptance of self and others here-and-now, comprehension, support. The
purpose of group art therapy is restoration of ego-structures in sense of personal growth
and development of new social viewpoints, discovering and fostering the creative
potentials.
The above described art therapy approach is used in different group settings: with
psychotic, bipolar and neurotic patients, the elderly, in male / female and age
differentiated groups.
The presentation will include a practical part.
Theatre therapies
ANNA SALÁT
Marginality and Exhibitionism – or Playing Creative Games in Costumes?
„ Games heal, but you need to know how
to play”
Jakob Levy Moréno
THEORETICAL QUESTIONS
“What does marginality mean in a changing world where traditional family values are lost,
but new ones are not yet born, where the concept of family is undefined, especially when
children are brought up by single parents?
Children who live in these families experience being different, and they try to hide this
feeling. They need a variety of methods, techniques to overcome their isolation and
inferiority complex in order to acquire the real ability to play, spontaneously and in a
creative way. We have to create a special temporary space for them where they learn to
play and discover themselves during the games.” (Hanna Kende B.: Gyermekpszichodráma– Psychodrama for Children)
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GÁBOR FODOR
The Therapeutic Effect of Improvisation
As the leader of the Touch Theatre and as teacher of improvisation trainings I confront
each time with the fact, that telling and viewing the story can have cure effect for the
story-teller.
The liturgy of the performances helps to warm up the audience and to prepare themselves
to have courage telling a story. To tell a story is for itself curative, because the story-teller
has to relive what has happened. The „chair of the story-teller” is a symbolical object, that
separate from the reality, and the protected therapy agent is established.
The story-teller – as reward of his/her courageous – looks the story about him/her, and
this story is represented by – in the psychodrama trained – improvisers, who do not know
him/her. The players – as resonate to the feelings of the story-teller – hold a mirror,
overstate situations, stress feelings, undo tension with humour and they give back
recomposed what has been deliverd as a surprise for the story-teller.
In my performance I study, what limits has the improvisation as therapy. What are the
methodological and ethical limits, whit what techniques can I warm up the audience, can
develop dependence in the audience?
During the performance – with the help of some members of the theatre – we can have a
quick look in the workshop secret of the method and we can listen to some stories hoping
that the magic will be repeated and the participants enrich with personal experiences about
the curative effect of the improvisation.
NETTA OREN
“Puppets Theatre As A Reflection Of Personal And Group Archetypes”
This workshop invite you to participate a journey to ancient age. The time that the person
was part of a tribe and the theraputic space took place in everyday life in a very active way.
Those activities included veriety of expressive ways in order to impower the tribe and its
individuals, which will promise their phisical and spiritual survival.
The aim of the workshop is to elaborate the group primary processes and their influences
on the personal processes through myth and puppet theatre.
The participates will share the exploration of their personal and collective archetypes
through puppets:
1. A search for the different archetypes that compose the collective entity of
the tribe.
2. The presentation of the archetypal images of the individual.
3. Creating personal and collective mythology through these archetypes.
4. The group as a container of personal conflicts through this mythology.
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JITMAN VIBRANOVSKI, PAULO CÉSAR CORREA ANTUNES
“Drugs!... What a Nightmare!”
(“Drogas!…Que Pesadelo!”)
This article describes the drug prevention work carried out by the “O Teatro
Institucional” (The Institutional Theatre) through the presentation of the theater piece
“DROGA!... QUE PESADELO!” (Drugs!... What a Nightmare!), written by Paulo
Antunes and directed by Jitman Vibranovski. The piece was presented in various Schools
and Companies throughout the state of Rio de Janeiro and Brazil. In addition we will also
comment on our experience in utilizing theatre resources in the rehabilitation process of
drug addicts.
TIHAMÉR BAKÓ, ATTILA DONÁTH
Self-expressing Theatre Workshop
We have been the members of the Theatre of Improvisations of Budapest since 1992. The
theatre where we represent the personal stories of the spectators improvising and with the
conductor acting as a go-between. At the beginning we participated in this theatrical
formation as actors, and later as conductors as well.
The Self-expressing Theatre Workshop is an experiment in which we wish to combine our
psychotherapist identity with our artistic creative powers, where we try to unite the
cathartic power of theatre and the common experience of the psychotherapeutic group
keeping the joy of action, creativity, and spontaneity in childhood as well as in adulthood.
POSTER SESSION
ESZTER T. LAURENCZ – VERA PERES – ANDRÁS TATÁR
Therapeutical Riding at the National Riding School
THE HISTORY
In 1993 the “HIPPOTHERAPY” – Therapeutic Riding and Vaulting Foundation has
been established with the objective to significantly improve the quality of life for our
disabled fellow human beings using this new kind of rehabilitation method. A 3-year
experimental therapeutic riding program had preceded the founding.
In 1995 the 1st National Conference on the “Professional Methodology of Therapeutic
Riding” has been organized. All organizations working with therapeutic riding in Hungary
and interested individuals were represented at this event. We exchanged our experiences
and became familiar with each other’s work.
In 1997, the first training course in therapeutic riding started in Hungary, as a result of the
co-operation between the Training Center of the Hungarian University of Physical
Education, the Hungarian Equestrian Federation and the “HIPPOTHERAPY”
Therapeutic Riding and Vaulting Foundation. As of today, the third class has already
finished their program of training.
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In 1999, the Therapeutic Riding and Training Center opened its gates, which hosts
therapeutic riding sessions, and is at the same time the professional workshop of
therapeutic riding trainers and therapists.
In 2000, as a result of the integration of higher education institutions, the Training Center
of the Department of Physical Education and Sports Science of Semmelweis University (TF)
also became our partner in the therapeutic riding training program. This co-operation
opened new horizons for us. Also in the same year The 2nd National Conference of
Professional Methodology of Therapeutic Riding was organized.
Beside the therapeutic riding and training program, our most important task is to provide
therapeutic riding sessions for the disabled, which we presently do with three specially
trained horses. This service is provided free of charge for all those interested. The
Foundations activity can be divided into the three main areas of therapeutic riding.
ALENKA VRBANČIČ SIMONIČ
The use of Creative Arts Media In Grief Counselling and Therapy
The aim of the use of creative arts media in grief counselling and therapy is to help
people, who lost their loved ones or people who are suffering because of other type of
loss, to recognise and work through different modalities of their experience of loos. Grief
is a natural reaction to loss, a life – cycle event and it is a process. The use of creative arts
media helps us in providing clients with an outlet to express their thoughts, feelings and
needs aroused by death, loss and grief. Because of the experiential nature of the arts they
help to create an atmosphere in which new insights are gained and many good byes
relieved. The creative arts media are a powerful means of communication and, especially
in the case of youth counselling and therapy, they are used with the aim of bridging the
communication gap between the caregivers and clients. I use movement / dance and
drama as a basic means of assesment and also as a dynamic process work.
NELLI BALÁZS
With the Arts Together and Further
The war broke out in Yugoslavia, and many people became refugees. Among those that
took refuge in Serbia, there were a lot of children, young people and adults from Croatia,
Bosnia, from big and from small families, both the rich and the poor. Local inhabitants
protested by saying that they did not have any room or chances left for them, and that it
was already too much of a multi-ethnic society without them. The Soros Foundation, the
HCIT, the Movement for the Protection of the Environment, and many other
organizations on the other hand said that the only way was to learn to accept each other
and live together. But how could this be accomplished?
The projects named “Prelo Nova” (“New spinning”) and “Mesebarlang” (“Tale cave”)
were started to answer and solve this question. Locals and refugees came together to
create something in many cities, in parks and forests, in the street and at other public
places, sharing with each other their views of the world and their experiences.
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People close to you make you softer, the arts dissolve the stress, the environment makes
you relaxed, and psychology makes all of this deeper and more systematic. I have realised
the great possibilities of the combination of psychology, folklore and ecology for revealing
ways of thinking, emotions and problems.
Working together, going deep into the movements of a paintbrush, becoming closely
intertwined with the softening of clay, touching the texture of reed, wood or grass,
relaxing with the softness of wool were all ways to bridge distance, vulnerability and pain.
I was working from 1996 to 1999 with people aged between 3 and 60. I had learned to
notice the moments, the tiny signs of emotions, build the self, others and the world into
myself. People who can get in contact with their feelings, thoughts and beliefs, and can
express them through the arts have moments of happiness, relaxation and flow. This is
what every refugee and local people desire – just like me.
ÉVA BARTOS, JUDIT HORVÁTH, KATALIN MAGYAR-FEKETE
The Application of Developmental Bibliotherapy In Children’s Libraries
(A 60-Lesson Accredited Programme)
The objective of the of extension training course:
To integrate a procedure, well-established in international practice, into the work of
Hungarian children’s libraries by making the participants acquainted with the theory and
history of bibliotherapy and preparing them for leading bibliotherapy groups, for acquiring
greater competence in mental health services. After refreshing and enhancing their
knowledge (in aesthetics, literary theory, psychology of art, psychology in general and
children’s psychology in special, history of reading and pedagogy) the students will take
part in practical training in self-knowledge, communication and empathy and will be
offered skills in group leading. The course will reveal the opportunities of developmental
bibliotherapy in the field of both reading development and personal development. The
knowledge to be acquired will make the librarians’ work more versatile and differentiated,
higher-standard and target-oriented.
Primary target group: those employed as children’s librarians full-time
Other target groups: those who deal with library services to children and youth part-time
KATJA BUCIK
Using Dance and Movement Therapy with Comunication Impaired Children
Dance movement therapy, the psychotherapeutic use of movement and dance, in our
Centre for Special Education “Janko Premrl Vojko”, Vipava, Slovenia is practised as both
individual and group therapy involving a direct expression and experience of oneself
through the body.
Holistic communication it is based on the movement. Children with cerebral palsy have
great difficulties in every characteristics of movement and ….. also of communication. It is
necessary to create favorable conditions and situations to enable them to develop nonverbal and verbal communication.
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Eye contact, attention, breath control, copying, relaxation, awareness of space and your
own body, orientation, auditory discrimination, linking movement-melody, vocalization,
motion-voice (every single sound has its own »body movement«), rhythmical movement…
are pre-verbal and communications skills which are stimulate by using body movement as
basic therapeutic mean in speech and language therapy.
My experiences results that the pleasure the child feels in moving his own body open up
the world of expression and communication.
NÓRA CSISZÉR, ERZSÉBET HÁSZ
Music and Fine Art Therapies on the Crisis-Intervention and Psychiatry
Department – Péterfy S. u. Kórház, Budapest
This poster will present a music and fine arts therapy practice of twenty years on the
above-mentioned department.
The team applies arts therapy methods with success by the side of the pharmaco- and
psychotherapies. Receptive music and fine arts therapeutical examples will be presented.
The therapeutical goals exercise influence on the choice of the works of art while the art
therapeutical procedure must be harmoniously integrated in the wholeness of the
therapeutical team work and serve the optimal structure of patients’ hospitalization period.
These facts exercise influence, too, on the choice of the works of art and in this way both
on the art therapeutical receptive procedure and their verbal processing.
The presented examples:
– questions in the choice of works of art in receptive music therapy for patients with
depressive symptoms;
– in receptive music therapy applied selection from operatic records for crisis-intervention
patients;
– vocal and traditional instrumental musical compositions furthermore with computer
composed pieces of music in the receptive music therapy for psychiatric patients;
– Raffaello’s Madonnas – the verbal processing in the receptive experience in psychiatric
patients’ group therapies;
– the preferences of different fine art techniques to optimalize the possibilities of a visual
experience (e.g. planar vs. spatial representations, black and white vs. colour
representations);
– principaled requirements of accessories and their implementation in the field of
receptive music, fine arts and complex arts therapies.
ZSUZSANNA CZABARKA, GABRIELLA IMRE
Why Do We Make Ragdolls?
Experiences of Doll-Making Workshops from a Psychotherapeutic Viewpoint
The graphic artist and psychotherapist authors have led doll-making workshops for years
where playful children and adults (parents) participate along with professionals of health
care. They also work in this workshops with patients sent by psychotherapists.
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The poster presents the phases of this work, follow and examine the process of dollmaking and try to share the atmosphere of the workshop through pictures.
The authors make, use and interpret these ragdolls as transitional objects (Winnicott) and
make attempt to share this experience and understanding.
We began to make ragdolls many years ago, separately from each other just following our
feeling and intuition –this was about that time we were waiting the first child. This was the
interesting sensual creative self experience we started from. Later we began to search for
understanding and explanation about dolls in general and about the psychological process
of doll making.
ANLENOR FISKE
MARIAN CHASE COMES FULL CIRCLE
A 19-MINUTE VIDEO FILM HAS BEEN MADE TO SHOW HOW THE
CONCEPTS OF MARIAN CHASE FIT EH PROFILE OF THE DIVERS
POPULATION OF A COUNTRY SEARCHING FOR AN AFFORDABLE
AND EFFICACIOUS FORM OF PSYCHOTHERAPY THAT DOES NOT
RELY ON WORDS ALONE. THE VIDEO SHOW THREE POPULATION
ENGAGED IN A CHASIAN CIRCLE:
- FIRSTLY, A GROUP OF ETHNICALLY MIXED ADOLESCENT SCHOOL
CHILDREN;
- SECONDLY, A GROUP OF COMMUNITY WORKERS, WHO HAVE
LITTLE FORMAL EDUCATION AND ARE IN TRAINING FOR
CHILDCARE UNITS IN RURAL AREAS;
- THIRDLY, A GROUP OF “UNTREATABLE” PATIENTS IN A MENTAL
HOSPITAL.
THE VIDEO IS NARRATED IN ENGLISH AND IS FILMED ON THE PAL
SYSTEM
KEJKLICKOVA I.. FLORIAN P., VOLFOVÁ S., STANÍČEK P.
Complex Therapy of Balbuties
Among the most numerous groups of patients with fluency disorders at the Private Clinic
of Speech and Hearing Defects LOGO are both children and adults with diagnosis of
Balbuties.
Our complex conception of diagnosis and reeducation has brought us a successful
treatment to this world-wide problem.
At present in our medical treatment we have patients from the age of 3 to 52. Within the
complex programme we have included breathing, phonetic exercises, phoniatric treatment,
logopeadiatric treatment, psychotherapy, consistent rehabilitation treatment, swimming
exercises, massages, relaxation therapy, art therapy and music therapy together with
dancing therapy.
The specific programme is based on the health condition of the patient and may include
from one to four weeks of intensive reeducation which is always preceded by one week of
diagnostic stay in our ward. After this, the patients come to outpatient therapy – once a
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week. This one year of complex treatment is carried out by a whole team of experts –
special phoniatrist, neurologist, experienced clinical logopeadiatrist and clinical
psychologist or rehabilitation doctor and physiotherapist. The following year the patient
can choose to attend only those reeducation therapies which suit and help him best and
are his favourites. The improvement of the patient´s condition comes as quickly as the
first weeks of reeducation. However, even the following year, the patients are invited to
regular check-ups to monitor whether or not their speech has gotten worse.
During the three years of our observation we have had serious cases in our care (30%),
medium cases (45%), and easy cases (25%).
In 90 percent of our patients we could see improvement during the first year of the
complex reeducation. In 10 percent we could not see any remarkable improvement. For
the documentation of the state of speech we used audio and video taping and the
spirometria check-up from the very beginning of the treatment.
Every year at beginning of summer we meet for a week in the countryside at which time
we are often joined by those who no longer have problems and who are helping those
currently fighting with this defect. Thanks to the positive approach of all the specialists
who treat our patients and thanks to the understanding of the patients themselves it was
possible to create a method of curing diagnostic Balbuties, which is both pleasant and very
effective in a relatively short period.
JÁNOS HARMATTA
Art therapies on the “Tündérhegy” Psychotherapy Department
This poster will present the “Tündérhegy” Psychotherapy Department in a delightful
natural environment as an excellent institutional example for the communitiy psychiatry.
Main points of the presentation:
– music therapy activities (active and receptive);
– complex art therapies;
– different group therapies with a direct observation possibility for the researcher
(“detective-room” with a technical equipment for the recording of the therapeutical
sessions);
– the position of the art therapies among the other therapeutical methods of the
“Tündérhegy”.
MÓNIKA HARTMAN
Non - Verbal Therapies in the Life of a Country Hospital
The author believes that applying non-verbal techniques, even in case of psychiatric ward
operating under bad conditions, is an effective additional method for both healing and
diagnosing.
Due to these techniques, the quantity and the quality of information deriving from the
patients considerably increases. As a result of it, both the diagnose and the follow - up of
the pathological process may become more accurate, and even the patient becomes
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equipped with ant instrument which enables him/her to take an active part in his/her
healing, interpreting his/her disease.
The study describes a psychiatric ward of a Hungarian country hospital. It provides an
insight into the everyday life of the ward where the author, with her narrow means,
employs art-therapy techniques in addition to the usual pharmacotherapies.
The author conducts workshops, called musical painting, twice a week by the assistance of
the therapeutic nurse. Besides she often applies drawing also as part of her analysis for
special purposes (for diagnosis and in case of communicational difficulties).
In the study it is illustrated by cases that drawing induces multi - faceted change in the
lives of the therapist and the patient. In the course of it positive events are often arising
which result - especially in case of the patient, but also that of the therapist - in increasing
prospects for recovery.
ESZTER SARKADI
Ragashali Soul Dance Club
Zsuzsa Gál’s paper will be represented in pictures (colour photos with brief subscriptions):
– In centre of gravity and in state of equilibrium – movement for the life
– Head, heart, belly – consciousness for the quality of life
– Playfulness and humour for the enjoyment of life
– Dance to five rhythms for the pleasure of life
– Point of origin: earth as fundament and seven main branches as details of the unity
BEÁTA SEBESTYÉN, KATALIN MARKÓ
Group Therapy in Painting for Guided Music
At the Psychiatry Department of Semmelweis University we started the group therapy in
painting for guided music one year ago. Our aim is the better understanding of the inner
world of our patients. We combined painting and listening to music on these therapies,
using their sociotherapeutic advantages.
The benefits of listening to music: It makers easier for the patiens to get to know their
emotions. It moves their inner worlds, more than only verbal instructions. We can achieve
a better treatment.
The benefits of painting: The patients can express several things wich can not be
expressed only in a verbal way. Also, in their works they insticly are able to express
emotions and thoughts wich are can not be expressed in words or they want to hide the
information we obtain in these therapies we can use in their treatment.
ZOLTÁN ARANY, EMŐKE SARUNGI, ISTVÁN FEDOR
Sailing
(Visual Psychotherapy with a Family)
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We present one of our cases, where we were working with a family in a therapeutic
method we call “family visual psychotherapy”.
Marika (a 10 years old girl) was referred for child psychiatry inpatient treatment with the
symptoms of obsessive – compulsive disorder, and sever insomnia.
Her mother suffered of major depression, and her father was treated for Alzheimer disease
and depression too. Marika nursed her parents as a “little mother”.
We thought that the main problem is the dysfunction of the family and the parentificated
role of the child.
The topics of the sessions followed our hypothesis. Throughout each session we worked
in both therapeutic modalities, included structural family techniques and worked with
pictures made by family members as well.
After concluding the therapy, their communication improved substantially, and Marika’s
symptoms had almost completely disappeared.
ALEXANDRA STEFANOVA IVANOVA, N. BOIADJIEVA*
Art Therapeutic Practices with Orphan Children in Bulgaria
This paper presents art therapeutic practices carried out with 60 orphan children in the
small town of Ugarchin, in Northern Bulgaria. In 1999, a group of artists and teachers
came together to develop a varied program of art activities for these children. These
classes included two one-week visits and the opening of five artistic workshops – History
of Art, Ceramics, Painting, Installation Art, and Fashion Design. Given the high levels of
illiteracy among the children, as well as their difficulty verbalizing feelings and ideas, the
group felt that the visual arts could provide a direct and immediate link to the children.
The ultimate goals were to minimize the negative influences in their lives, to improve their
overall psychological and emotional state, and to broaden their cultural interests and
knowledge.
This experimental model of art therapeutic work offers one possible response to the
question of how to best deal with the problems of children without families. It provides a
working method that strives to be both enjoyable and effective.
ILDIKÓ NAGY SALLAI
Thoughts About Art, Art Therapy, About its Importance and its Use
Art is the meeting place of all the experiences we live through and process and summarise
in our imagination. What makes a work of art unique is the way how this process is being
realised and becomes perceptible owing to the interaction which is born at the meeting of
the actual experience, the artistic purpose and the principles of the processed matter.
The environment where the therapy takes place actually is a creative workshop. It is a
creative community where values come into being. This medium and the role the patients
play in this medium have a particular constructive – curing influence on the patients.
The possibility of free choice also contributes to the healing process, because the patient
has a chance to decide in which field he would like to try his abilities during the therapy.
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At the moment when the process of creating begins and the first constructive movements
are followed by the others, a creative and active process comes into life. The creation is
not only an attitude and an action but a message as well.
A message towards ourselves that we are able to do something about which we haven’t
had the faintest idea before and a message towards the others about us.
The completed work is born from us and through us it becomes a creation which is visible
palpable and conceivable.
Good therapy is similar to good education: it is a series of trials, challenges, - human
physiological practise.
The creative therapeutic group can be developed into a community in which one can
acquire the practise of bringing creative abilities to surface.
It will be visible, palpable for the patients what they are able to achieve in an atmosphere
of affection, care and attention.
SZILVIA TÖLGYESY MOGÁNNÉ
The Role of Artistic Creation In the Physical/Locomotor Rehabilitation
Today in Hungary, especially in the locomotor rehabilitation, occupational therapy is still a
less known intervention/procedure. The therapy is based on the conviction, that activity
promotes physical and mental health. Besides the basic needs, such as the possible
motility, or the ambition for self-sufficiency, there is a need for testing and practising of
activities, which help the disabled person to find his mental balance. We would like to
show on our poster, what importance life. What does the delight in composition and work
mean in a life of changed capacities, how does the manner of creation differ from the
conventional methods.
ANNA FERENCZ, ANNA NOGULA
Problem Solving Through Cinematic Art Therapy
In extreme situation, the most precious treasure one can have is the capability to tackle
problems – this is an important principle f professes by the Divorced Kids Defence
Union. In co-operation with Rádió Q, a technique has been elaborated to improve this
ability and lessen the aggression inside the family. In fact, their travelling exhibition is a
therapy using motion picture presentation. The audience interested is shown a video
picture containing a conflict comparable with their own family trouble, than five different
approaches are demonstrated how to solve the problem presented by the picture. In the
audience, the several different possibilities initiate a brainstorming certainly producing at
least two proper answers to their peculiar problem.
ANNE KATHRIN NICKEL, ALEXANDER WORMIT, THOMAS HILLECKE,
HANS VOLKER BOLAY
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Evidence-Based Music Therapy as Used With Chronic Pain Patients, Children
with Migraine, and Haemodialysis Patients
Health care systems everywhere are undergoing profound social and historical
transformation processes and the rising demand for evidence-based medical and
psychotherapeutic care has to be met by music therapy by means of theoretically founded
treatment manuals which are scientifically and empirically evaluated. This is the main aim
of the German Center of Music Therapy Research. The benefit lies not only in the fact
that the proof of effectiveness leads to refunding of music therapy by health assurances
but also within the teaching context, where practical modules of the curriculum can be
based on transparent “learnable” treatment techniques for different diagnosis groups.
Three research projects with chronic pain patients, children with migraine, and
haemodialysis patients are presented with an emphasis on the presentation of three
indication-specific music therapy treatment concepts. The music therapy treatment
concepts are all carried out in interdisciplinary treatment contexts, are theoretically
founded and scientifically evaluated.
RÓZSA NINEHAUS
Fantasy without limits on limited surfaces
- Art as expression of life Eggs are a symbol of life and so the decoration of eggs is an old custom in many regions.
The therefor used materials, colours and techniques open up a wide variety whereto the
museum „Art on Eggs“ tries to give an insight. It is this endless creative potential aligned
with the decoration of eggs which is worth to be considered under the objectives of art
therapy.
The following aspects of decorating eggs may be of therapeutical interest:
 The art of painting eggs has a broad publicity through the spread of the according
tradition at the time of easter
 The tools and materials for decorating eggs are simple, close to nature and to gain
without high expenditure
 The egg as the handled workpiece is fragile and requires a patient, accurate and
precautious manipulation
 The multidimensional work space supports the spatial cognition
 Repeating ornaments, different asymmetric and symmetric patterns, compositions in
very small scale and miniaturisations encourage attention, concentration and manual
skills
LÁSZLÓ TRINGER
The Role of the Art Therapies in the Field of Psychiatry – questions, possibilities,
perspectives
The poster presents the role of the art therapies in some historical respect:
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– the development of the work-cure and other community therapies as a result of the
therapeutical “revolution” in the XIX-XXth centuries in the psychiatric institutions;
– art therapies in this period with some concrete examples;
– the second institutional revolution – community psychiatry, intermediary structures,
managed care;
– art therapies in this period – the art in the community therapeutical activities.
AYODELE JOLOMI
What is Art Therapy?
At some point in their lives, people may find themselves overwhelmed by the intensity of
their emotions which are difficult to face either by themselves or with others. Art therapy
offers an opportunity to explore these intense or painful thoughts and feelings in a
supportive environment. It involves using a wide variety of art materials, for example
paints, clay and batik, to create a visual representation of thought and feelings. Art
Therapy can be an individual activity but is often used very successfully in group
situations.
FROM THESE I CAN DEFINE IN THE FOLLOWING LEVEL
• Art Therapy brings together psychotherapy and the healing qualities of the creative
process. It is a rapidly growing profession in which feelings, concerns, and potentials are
explored through verbal and non-verbal expression.
• Art Therapy utilizes the creative process as a means of reconciling emotional conflicts
and of fostering self-awareness and personal growth.
• Art Therapy recognizes the process, the product, the content, and the associations of art
making as a reflection of the individual.
• Art Therapy occurs in the context of therapeutic relationship which provides support
and guidance in a professional atmosphere.
• Art Therapy is used as a primary mode of therapy or as adjunctive therapy in
collaboration with other health care professionals.
WEDNESDAY, 02. APRIL 2003
SESSION I
Theories
MICHAELA FRANK
Identities, Differences and Connections Multicultural Therapy
(Mct)
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Within the framework of a united Europe, which is increasingly composed of people
from different cultures and backgrounds, there is a need for therapists with the experience
and awareness of other cultures. This is especially true because an understanding of the
ramifications of cultural factors in the formation of identity and an understanding of the
world is essential to delivering effective therapeutic care. One gains this experience and
awareness by developing an awareness of one’s own culture and identity. The concept of
Multi-Cultural Art Therapy is outlined here and is supplemented by an understanding of
the demands of the role of the therapist in working in this area. Specific topics are
identified and considered within a multi-cultural perspective as follows: perception and
aesthetics, cultural transmission, fundamentalism, and work with minorities. When
language, in particular, fails to adequately address these issues, new ways of
communicating are found through the use of creative and artistic dialogue.
ERZSÉBET MOUSSONG-KOVÁCS
“ARTS IN HOSPITAL” EXPERIENCES OF A TEN-YEARS UNESCO
PROJECT
In 1988, the UNESCO initiated the World Decade for Cultural Development including a
program for the amelioration of quality of life in health institutions by means of artistic
activities, aesthetic objects, and performances. The art as therapy aimed not only the well
being of patients, but it served also to prevent the ‘’burning out” of professional helpers as
well as to gain the acceptance and empathy of the larger community for the diseased and
handicapped.
The project enclosed conferences and workshops with demonstration of different
therapeutic methods and models; these have been discussed and evaluated in the experts’
meetings – the present rapporteur being one of them. These events have taken place in
different European health centers – Vienna, Oslo, Basel, Ljubljana among others –
comprising the visit of various very interesting medical and cultural establishments.
SÁNDOR LEITNER
Art Therapy Education in the Reflection of the Bolognese Procedure of the
European Union
This paper will present a double comparison in the field of the art therapy education:
1. comparison between non-European and European art therapy educational systems;
2. comparison between the above-mentioned systems and the Hungarian situation of the
art therapy education.
It will accent the important role of the art therapy education in the Bolognese Procedure,
will consider the question in many respects, e.g. two cycles education in the art therapy,
international/European homogeneous professional register in this field, the question of
the mobility, unified quality assuring, EU-identity with national cultural specialities and the
EURASHE policies.
Complex therapies
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PETROS THEODOROU
«Creative Communication» or Exercises for the Imagination and Interactive
Expression
Being related with both the fields of art (as a composer) and psychotherapy I have formed
a series of workshops that can in many ways combine two goals:
a) “therapy” in the sense of self – awareness
b) “creative-artistic expression” in the sense of exploring aspects of the creative
process.
The concept of these «Creative Communication» workshops is functionally and
structurally adaptable. Consequently their flexible form can be at will shaped under a
variety of demands in the wide range between their two poles: “therapy” and “ creation”.
Sound, speech, movement are the tools for the creative level, while the psychological
one is based upon the Gestalt therapy approach.
Running these workshops under any form I pay a lot of attention to work with the
participants in an integrated way. Growth of «self» is continuously supported as I try to
keep interconnected both the above mentioned levels on which is unfolding each
workshop’s process.
Film therapies
ANDRÁS STARK
Bergman’s Films in the Psychotherapy
The ego-protecting, defensive mechanisms, the phases of the route leading from the dual
union to the separation, individuation, the spectrum of the anxiety, erotic tension,
aggression, the visualization of the preverbal elements in the early mother-child
connexion, all these can be examined through the film/dream analogic approximation as a
psychoanalytically explored experience.
The intrapsychic event is definitively pictorial on the human level. The film speaks best of
all the language that is researched by the psychoanalysis. The sequence of the squares in
the film is the equivalent of the pictorial process that is known by the dream, fantasy and
the alldays creating of images.
The sequence of the film seems to unite to the streaming ideation or else the film seems to
continue the fantasy or quite the contrary, the fantasy seems to continue the film.
This paper as a film essay will present the role of the cinematic art in the understanding of
the psychotherapeutic situation, process and connexion by the help of quotations from
Ingmar Bergman’s films “Wilde Strawberries”, “Persona”, “The Silence” and “Cries and
Whispers”.
NIRIT LAVY-KUCIK
“The Little Girl With Her Back to Us”
Narrative Phototherapy
MOST OF US POSSESS PHOTOGRAPHS WHICH ARE FROZEN MOMENTS OF
OUR LIVES. They hold profound meaning in the context of our memories, our
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attachment to significant others, or experiences that shaped our life in one way or
another.
Using photographs in therapy enable us to connect in very intimate way to our repressed
emotions, neglected representations of our selves and others. The core experience of this
therapeutic work is that a photograph has a very idiosyncratic meaning to the individual
and our therapeutic goal to be attuned to this meaning and to explore it together with our
patient.
Photographs brought to therapy raise key issues, around which the narrative of the
patient life is woven. The process opens new path and alternative points of view,
providing a more complex way of seeing both inner and outer reality.
In my work with phototherapy I deal with individual, couples, and families and with
instructing professionals and organizational teams. Over the years of my work, I have seen
that professionals who were interested in the technique came from various therapeutic
orientations.
Theatre therapies
ORSOLYA DRÁVUCZ
Toy-Theatre
The Application of the Puppet- Theatre and Its Experiences in the Psychotherapy with
Adult Psychiatric Patients
The toy theatre or paper-theatre –I will use both terms- is very well-known and popular in
Western Europe. For me it was a real surprise when I first heard about it. It wasn’t so long
ago.
When I looked it up, I realised how big and interesting history this kind of theatre has in
Western Europe. But I have not found any data in the Hungarian puppet-theatre books.
AGNES BALAZS, JOZSEF RIGO
“I don’t understand Iago if I play it”
Experience of Ten Years in Drama-Therapy at a Psychiatric Hospital Department
The title showing the subject is from the XX century writer Albert Camus ennobling the
determining primer experience of our existential philosophy and significant philosophic
stream. Similar to the other philosophers of existentialism questions the most important
issue of Camus’ philosophy is whether that of the foreign determinance either as an
experience of anxiety or as a recognition of the inner necessity as an experience of
freedom can be undergone in the individuals relations and roles. The goal of a therapy
giving the possibility of change from anxiety till freedom as that of life conduction style
can’t be anything else than to help the person to recognise that his existence is not the
circulus vitiosus of the ancient king Sisyphus suffering with stone rolling in the
underworld Tantalus.
JÓZSEF PARÁDI
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Playback Theatre Work With Dreams in a Publc Theatre
Many cultures all over the world have used dreams as a basis for cultural and personal
guidance. Dreams played a central role in determining the fate of mankind.
In early times and cultures theatre and storytelling served as an arena for inspired creativity
and craft, as well as vital means of integration and healing for the community.
I feel my way to my dreams is rather typical: I have learned to deal with my dreams and
appreciate them not form the culture I am from but by help to my first crisis, working
with psychotic patients and some of the altered consciousness training.
I have worked with dreams in psychodrama groups, in dream workshops, in private
therapy, and now in a public theatre applying playback theatre method.
In one of public theatre of Budapest I established “Dream Theatre”, where people can
share their dreams and watch them enacted on the stage.
Art therapies
SESSION II
KERRY OLIN
In His Own Time: The Life Story of an Adolescent
This presentation is a case study utilizing the Person-Centered approach within the Art
Therapy framework. The work discussed is that of an African-American male, “Jay”, from
the age of 12 to 14. Jay experienced severe neglect and sexual abuse and due to these past
traumas, appears arrested at a much younger age developmentally than his chronological
age of 14. The identification, acknowledgement and expression of his thoughts and
feelings are difficult and made traditional therapy counter-productive. The use of Art
Therapy allowed the client to explore such issues as trust, boundaries, attachment, sexual
acting out, containment and expression. The Person-Centered approach to this work
ensured that the process was his own and allowed Jay to experience himself in new
corrective ways. This presentation will chronicle Jay’s struggles and triumphs over a 2 ½
year period. Jay’s artwork will be included to illustrate the power and depth of his work.
ANGELA PHILIPPINI
From the Ancestral Secrets to the Social Transformation
I prepared the two themes I would like to focus: the first theme refers to sacred secrets (in
the individual level). They are relived every time when two people meet to make a diffuse
matter, like their feelings, memories, dreams, pain and hope, concrete, realizing it through
colors, forms, clay, scribbles, weaving and all the imagery.
The second theme is a consequence of the first: a powerful method that has been
developed by ancestral secrets (in the collective level), contained in fairy tales, to make art
and to express themselves with freedom and authonomy, this process gives birth to a new
hope. The dream gets stronger and each person can experience itself in its uniqueness and
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wholeness. These are the roots to operate meaningful changes, both individual and
collective.
This is the path from the ancestral secrets to the social transformation in the present
times.
ENDRE BÉLA HUFF
Therapeutic Object Culture and Design
Our objects have two states, a normal and a therapeutic state. The normal state has
something to do with the object's function but the therapeutic one is in connection with
an extra aim (medical, psychological or ergonomic). For instance, in the case of a chair, its
function is to rest on it. The therapeutic aim can be illustrated by a dentist's chair or by a
chair which has specially designed for relaxation. According to J. Baudrillard, some chairs
make us feel tenser while others make us feel more relaxed. Small children are not afraid
of objects until they have some negative experience with them. Also, for some people they
form a taboo while for others they conjure up pleasant memories.
Our Common Archetypal Symbols
KLÁRA SZEKÉR
I compared the free drawings of 800 chilren's at the age of 3 to 7 with the traditional
works of ancient cultures. Based on this examination I have found some common features
in the ancient symbols reflecting the laws of life and in the children's drawings.
The six basic forms (o, , x, ,  ), which appear in children's works independently
from their cultures, at the same time give the basis of the ancient figurative language of
humans. 1
The embodied symbols of the world's universal law are organized into a certain space-time
system, the so-called life-tree-system. Their symbolic meanings change from culture to
culture.
While children communicate the universal figurative content in the so-called life-treesystem spontaneously, they represent their experiences, the spiritual contents that are
important for them consciouly, in their own, individual way.
This result urged me to do this examination, in which I used some patterns of Hungarian
folk art which convey the ancient, national wisdom in the most perfect way. In the end,
fourteen children were involved in the three-part examination and as many as 124
drawings have been analysed.
If children can see pictures which reflect the laws and orders of the world, their spiritual
consciousness awakens since the universal law works in their souls too. Depending on
their mental capacity, they will either copy what they see or what they see will urge them to
reveal and arrange their own spiritual world, which leads to their personalities getting more
highly structured. I use the conscious launch of self-curing process in my
psychotherapeutic work.
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JOANNES KÉSENNE
Art as a legal way of madness
The elite art world suffers of hosopholia for art of persons with learning difficulties or
psychiatric problems. This fear might be plausible. The artists of the twentieth century
have not only fed upon the creativity of outsiders, often great artists became victims of
depressions, addictions, delusions of manic disturbance themselves. We do not want to
speak about the romantic clichés of the mad genius or the genius madman, but we cannot
beat about the bush. For that reason only the exotic interest for outsider art demands for
a moment of rationality.
What is it that makes this art so exceptional? You cannot get away from it. This ‘special’
art requires a special type of attention.
Outsider art has a contract between two parties. On one hand it belongs to the field of
mental health care. Therapeutic programmes and different forms of studio work put
legitimate demands within there own language. On the other hand we have the ‘official’
art world, which prospers at market-sensitive money values. These two worlds are
difficult to join.
Within clinical and institutional context, people guard and protect the therapeutic integrity.
However lots of artistic products from these studios show an aesthetic surplus value. That
is what it is all about. So we ask ourselves, may we deny the general public access to this
creative surplus?
A wrong image always emerges. Most people like to think that an artist always works fully
rationally and consciously. It is exactly this misunderstanding that leads to lack of respect
for outsider art. The generalised consciousness of the artist is about all sensitive to the
market. This has nothing to do with the artist’s creativity in his studio. Why, for instance,
would a person who temporarily suffers from a psychotic crisis, not be able to make
something that can be considered as art? Even if he/she at the time does not know what
he/she is doing. The cliché that an artist is a to be extremely intelligent genius lives on in
lots of camouflages of psychopathological problems. That is the problem.
The fact is that there is not enough scientific research to this complex problem. What we
have is the museum’s interest, the international attention to extended collections of
outsider art and the appearance of many philosophical-theoretical reports about this
subject.
Of course this of art can only originate with the help of therapists. But this must not lead
to a denial of its value. It is only natural that these people get the help and the support of
professionals.
Trainings in “art therapy” in Belgium and other countries ensure this special form of
guidance.
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BARNA ANDRÁSOFSZKY
Art and healing
Helping by means of art besides the instrumental and drug treatments to promote the
earliest possible recovery, that is since decades a matter of course for the patients and the
staff of the T.B. and Cardiology Hospital at Mosdós.
At the beginning of the sixties there were only T.B. patients at the Hospital and the
visitors could come once a month. The visits always began with a little performance. The
visitors gathered in the big hall and heared recitations of verses besides a report of fifteen
minutes about the illnesses and our patients’ problems. The beginning and the end of the
program were pieces of poetry. Both the visitors and the patients took part with pleasure
in these performances.
In the second half of the sixties there were performances not only within the frame of the
visits but several times in the evenings, too. These literary programmes, art exhibitions and
concerts served our patients’ healing. This practice keeped on today, too at the institute.
SESSION III
Film therapies
KORNÉLIA PATKÓ, JÓZSEF MÁTÉ
Search for New Methods of Education for Juveniles Under Arrest
The Young Offender Institution of the Ministry of the Social and Domestic Affairs
in Debrecen has been working from the 1st Nov. 1997. The law of LXI. in 1995 made it
possible for the juveniles that the period of the arrest would be executed also in approved
schools. In our institution the variety of mental health activities became especially
important. Starting the film therapy group we stated as a basic principle that we will only
show films that would not have been watched by the young people if they were ‘free’, so
those movies that are above the level of common, plain mass films, or are especially art
films.
There is a requirement for the juveniles in the club, that after watching the films they have
to actively participate in the presentation analyzing the film, dispute and talk for an hour.
The first principle contains our aim that the juveniles would be opened to the
development of new skills and to the accepting of non-verbal messages by opening
themselves to the unusual effects of the language of the films as a tool of education.
There are 23juveniles who are the members of the film therapy group presently. Out of
them there are two who are 14 years old, 9 of them are 15 years old, 7 of them are near to
18. Their average age are 15 and a half. Out of them 9 live in villages and 14 are citizens.
Most of the families they are coming from has an average of 3 and 5 children. (Two
families have 4 children, four families have 5 children, two families have 6 children, two
have 7, and one has 8, another has 9 children.) Mostly they are gypsies. Out of 23 pairs of
parents we found 16 who are previously convicted. Eleven couples divorced, and they all
have a very low income. None of the parents have permanent jobs, only 17 out of the 46
parents of the juveniles – work. 7 of them live on disability, 10 are housewives, and 1 is in
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prison presently. Out of the parents 11 are massive alcoholic. Out of the juveniles 12 are
drug addicts or at least they used drugs. 10 of them haven’t finished the primary school.
We declare the film therapy group to be successful, the juveniles mainly without finishing
the primary school were enthusiastic and were grateful to wait for the next film. The
members felt a kind of prestige among those who did not belong to this club within the
institution. We were surprised by the fact that the juveniles were patient in case of difficult
films, and they understood the actions and characters high above what was expected. We
believe that they were thinking and articulating such things – sometimes using their
maximal verbal skills- that they never did among their friends and family.
ANDRÁS VIKÁR, ANTAL BUGÁN
The Hungarian School of Psychodrama
The already 800 members counting Hungarian Association for Psychodrama is the biggest
association for psychotherapy in Hungary, and one of the biggest associations around the
world in the psychodrama field. The Hungarian school of psychodrama started in 1972,
but there were many things important for the development of psychodrama before this
year: the tradition of the School of Budapest for psychoanalysis (with Ferenczi, Bálint,
Hermann …) in a specific political context during this years, with the illegality of
psychotherapies – where the only possibility for resistance and surviving to exist in small
groups was. Ferenc Mérei met Moreno and his method in this special situation in 1963.
In this workshop we will show our specificities: the simultaneous work with personal and
social, with intrapsychic and interpersonal, a psychoanalytical – social psychological
approach using the classical theatre and morenian psychodrama techniques.
Theatre therapies
ANDRÁS ZÁNKAY
Therapeutic Effects of the Playback Theatre
The purpose of the lecture is the facilitation of professional thinking and disputation by
thinking through the therapeutic effects of the playback theatre. In the lecture I shortly
introduce the genre of playback, grown out from common roots with psychodrama.
Subsequently, describing the specific and non-specific therapeutic effects, I analyze the
interpersonal processes of the participants of the performance and the intrapsychical
processes of the "Teller".
In the playback theatre the members of the audience are asked to tell one of their personal
experiences, stories, so that they could see it enacted by the actors and the musician. The
"Teller" - connecting up with his inner world, shows something from his life, from
himself, to be able to look at it from outside after that. For the people present, it makes
posssible the encounter in the Moreno-ian sense of the idea. On the performance - in
favourable cases - during the telling of the experiences, stories become more and more
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personal. The stories are in connection with the personal development, with an important
moment of the change of the "Teller".
In some minutes something emerges on the empty stage, maybe having potential
significance for the whole life. It is supporting the sharing of personal experiences, the
joint creation, new experiencing. The sharing of experience with others and the
reexperiencing of it, with the self-supporting effect of the "shared experience", makes
posssible the change of the emotional meaning and colours of the experience. The birth of
somekind of plus - compared to the original experience - making possible the next step of
the development.
Similarly to other terapeutic situations, it can happen in a good way, if the current
company is able to accept the "Teller", tune up to his experience and mirror it without
rejection. If they are able to handle and to represent the tension, appearing in the story.
The accepting atmosphere of the playback theatre - by making it possible that someone
can share an important experience with others, who accept how he did experience it - can
help the "Teller" deepening his self-knowledge, rewriting his intrapsychical dialogue, get
rid of emotional jamming, accept and appreciate himself. The acting of the scene,
sometimes helps to get rid of emotional jamming through the confrontation with
something, showing something on the background of acceptance, what was not visible for
the "Teller".
As the result of the proper cooperation and warming-up of the conductor, the musician
and the actors, is the spontaneity unfolding, appears the possibility of creative
improvisation. It is a requirement for the audience to feel homelike and the actors
becoming open toward them, become able enter into the world of the "Teller" in an
altered state of mind. So can the audience experience the inner harmony, the intense
presence and curiousity of the company, getting an experience, what fills them up.
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