A Practical Guide to Art Therapy Groups

Diane Steinbach

• Publisher: Routledge
• Year: 2014
• Print ISBN: 9780789001368
• eBook ISBN: 9781317791171
• Topic: Medicine
• Subtopic: Occupational Therapy

Are you in need of some variety and imagination for your art therapy repertoire? If so, this is the book for you! Diane Fausek's unique approaches, materials, and advice will inspire you to tap into your own well of creativity to design your own treatment plans. A Practical Guide to Art Therapy Groups lays out the ingredients and the step-by-step plans, but it's up to you to mix in your own caring and therapeutic skills to get the results you want.A Practical Guide to Art Therapy Groups is the only book of its kind. It gives you not only fresh ideas, but also specific directions on topic and material implementation. With the book's specific guidelines and practical advice, you will find planning therapeutic group sessions easier and less time-consuming. When struggling for ideas, you can turn to this book as a source for many appealing themes and issues, already organized and grouped together with compatible materials for your convenience. You will learn how to:

• interweave fabric techniques and collage with personal philosophies and challenges
• enhance sensory stimulation through collage
• use painting techniques to improve abstract thinking skills and the ability to find images
• develop collage techniques using both traditional and nontraditional materials
• employ nature objects that emphasize clients'own natural flaws and strengths
• use stencils and the individual's silhouette to focus thoughts and energies at self-definition and group dynamicsWithin this book, you'll find many successful treatment plans that have been used in long-term care settings with clients affected by Alzheimer's, stroke complications, geri-psychiatric conditions, and developmental disabilities. Each plan can be adapted to fit your particular setting and the needs of your clients. Whether you are a student, a counselor, an art therapist, or an activity director, A Practical Guide to Art Therapy Groups can help you provide innovative, fun, and therapeutic opportunities for your clients and open the doors to communication.

Chapter 1

Finding the Key

 

 

Art therapy is a tool that combines the creative processes of the individual, therapeutic interventions, and traditional and non- traditional art media. Art therapy has been proven successful in helping participants to learn, reach out, and to grow. It opens the door to communication between therapist and client, child and parent, individual and individual, and most important, allows us to look deep within ourselves and see truths we sometimes overlook.

Art therapy is utilized in many settings and, with adaptations, can be seen as a tool used with everyone. I have been working in long-term care for many years and know that sometimes creating original, successful, and therapeutic treatment plans can be difficult when you are working with clients with challenges of the physical, cognitive, and psychological nature. It has been with this in mind that this book originated.

Within these pages, you will find treatment plans originally used in long-term care settings, specifically with clients affected by Alzheimer’s disease, complications from stroke, geri-psych, and developmentally disabled. Each one can be adapted to fit the setting you need. Each plan has a brief description of the process, followed by a materials list and sequential information on the actual implementation of the process. All processes are noted to describe the target population and requirements. All the basics are there; you just add your therapeutic skills and caring nature to provide a beneficial experience.

Using art in therapy is not without risks however, and this book is not meant to replace therapeutic training. The processes in this book have been created and implemented successfully with the long-term care clients with whom I work. I have learned that truly knowing your clients is inspiration enough to develop treatment plans to target their issues of loss, grief, lack of control, frustration, hopelessness, and life review. It is in our best interests to look at who we are, what motivates us, and how we interact with others so that we can live more successfully and feel more content with the choices we make.

I have been fortunate enough to have developed a cohesive group of clients who are supportive of each other and comfortable with expressing their issues. I am always amazed, when I am thrust into a client role by a sadistic intern, at how difficult it is to open up, and yet how easily my clients will do it. This, I know, is unusual.

HOW TO DEAL WITH THE HESITANT ARTIST

A good question. My answer is always “Art isn’t for everyone.” And to force it on clients is unproductive. People of another generation–of the depression era or of the war years- rarely had time for leisure pastimes of this sort and they often see it as merely “kindergarten stuff.” It is a difficult viewpoint to reverse. When I know I will have a new client in my group, I plan ahead to ensure a highly successful, perhaps diversional activity. I want to make the client feel like an artist, feel that they can be successful before I ask them to take risks. I also do not saturate my group members, instead I try to alternate between heavy-duty emotional or high-risk groups and lighthearted, more relaxing get-to-know-you kind of groups. Also, making sure the process and materials are age appropriate is important. I avoid using crayons, preferring to use the more “artsy” Craypas. When confronted with the “this is kids’ stuff’ comment, I generally reply with a chuckle and the comment that they should take a look at the local art museum, and say, ”We could make a fortune with this!“ After that levity, we can discuss the true worth of art … Did they enjoy themselves? Did they learn anything?

I have a client with memory loss and confusion related to alcohol abuse. She has been a member of my group for many years and used to tell my interns, “I don’t like coming here, but I enjoy it and keep coming back!” She says that she tries to keep herself busy all day so that she does not think about things and then, into my group she comes and is faced with the issues she avoids! The difference is that she can sort through her emotions and issues with friends and peers that understand and support her. She is the biggest advocate for art therapy I know!

WHAT TO DO WITH THE LOWER-LEVEL CLIENTS

First of all, this classification (lower-level) is not meant to demean or label anyone, but is only used in reference to clients with moderate confusion and/or significant physical challenges. There are many treatment plans in this book directed toward that population, and many of the other processes can be adapted to be used on all capability levels. For these groups, personal introspection is less of a focus. Instead, I focus on group dynamics, task completion, color and shape identification, sensory stimulation, and reminiscence. Hand-over-hand task completion is often necessary, as well as much more preparation time; however, the satisfaction on the clients’ faces when they see something they created and contributed to being displayed and appreciated by others is always gratifying. If they are significantly confused and do not appear to get much from their involvement in the group, the clients’ families appreciate their involvement in the creation of art and thier inevitable pride when they take the artwork home to cherish.

WHAT ABOUT LOW-VISION CLIENTS?

It takes a little imagination to do some simple artwork with clients who have limited vision abilities. If they can see colors, blurrily even, perhaps start them out doing loose watercolor paintings of large flower pictures. Relate their work and style to the French impressionists! Limiting the work surface by having them work in a low-rimmed tray works well with both the low- vision client and the confused client because it limits distraction and provides boundaries. Scented markers and paints are a great idea, but are not as rewarding to work with as far as results go and should not be used with confused clients for obvious reasons.

OTHER THINGS TO CONSIDER

Create a reference box that categorizes pictures from magazines into flowers, landscapes, animals, buildings, etc., so that you have immediate resources for studio groups (meaning teaching technique-type groups) and collage works. Also, for any work that is displayed (with permission of course) try to matte the artwork so that it has a more professional presentation. It is great to matte a “beginner’s” artwork. It gives it that extra touch and helps beginners feel that the work they do is adult and important. The corporation I work for has a national contest for artistic endeavors. You may decide to have a judged show of your clients’ works; however, I feel that in the long run, competition among artists in this setting is not always productive and can lead to resentment among group members. Remember, art for its own sake is its own reward.

The ideas presented in this book have been met with interest and enjoyment by the clients with whom I have worked. I hope that they assist you in opening the windows of imagination and the doors to self-exploration for your clients and yourself.

Chapter 2

Fabric Techniques

A WORD ABOUT WORKING WITH FABRICS

The following processes use a variety of fabric techniques, including collage of various textures and types of fabrics, as well as unique dying techniques such as tie dyes and ink staining. The best thing about using fabric in art therapy is that most of the time it requires you to purchase very few supplies, as fabrics are a common donation item or can be requested as a donation from upholstery shops or fabric stores by asking for end-of-bolt remnants and out-of-production fabrics. Also check with interior design companies for their obsolete sample books!

I like using fabric for some projects not only because of its potential use for “flat” artwork, but also for its ability to be stretched over a frame, or even quilted, depending upon the process and the need for adaptability.

The use of “Tie-Dye Cords” (a product that gives you the dye on a string) and inks give the same effect on fabric as watercolor paints have on paper. They often create beautiful washes and flowing colors spontaneously.

The usefulness of fabric processes with lower-level or sensory stimulation groups is self-evident. It is a trigger of reminiscence for many and provides the opportunity for many visually impaired clients to “see” by feeling.

Fabrics have numerous uses; don’t worry if you can’t sew a hem … Do you own a hot-glue gun?

FABRICS AND PAINTS

A Day in the Life: Medium- to High-Level Cognitive Functioning

This therapy group addresses people’s personal philosophies and allows for exploration of shared experiences when dealing with long-term hospitalization or a significant change in lifestyle. The use of “Luma” inks here offers a vibrant interpretation of feelings.

Materials needed: old cotton sheeting (white), cut into 24″ × 36″ squares; “Luma” concentrated watercolor inks (with eye dropper dispensers); table covers; “Slickers” fabric paints in squeeze bottles; newspaper; spray bottles of water; and wood dowels (optional)

1. Cover tables and lay out, over folded newspaper, one piece of material per person. Dispense inks within easy reach of all clients.

2. Begin discussion by talking about the meaning of personal philosophies. Give examples if necessary, e.g., “Treat others as you would have them treat you.” Discuss how personal philosophies help us get through hard times and remind us of what is important.

3. Ask each participant to think of a philosophy they have adopted or developed to help them deal with everyday life.

4. With this in mind, ask them to choose colors and to create an abstract image of that philosophy; in other words, use color and shape to imply the meaning and importance of their philosophy.

5. Dampen material with spray bottles of water and instruct clients on the usage of eyedropper inks. “Luma” inks are concentrated color, so once applied a little bit goes a long way when sprayed with water.

6. After backgrounds are established, allow pieces to dry somewhat. Remove saturated newspaper from underneath material and wipe up any excess water.

7. While pieces are drying, begin to discuss philosophies. Ask each individual what philosophy they were thinking of as they created the background, and write this across the material with “Slickers” paint. Ask the clients to express the significance of this philosophy to them. Ask if any of the other group participants believe in the philosophy as well.

When each person has discussed their personal philosophy, allow each piece to dry. Finish off by either sewing pieces together for a philosophy mural, or create personal banners for the participants by hemming each piece and adding a dowel to the top hem (see Photo 2.1 and Photo 2.2).

Facing Challenges: High- to Medium-Level Cognitive Functioning

This ...

Table of contents

• Cover Page
• Title Page
• Copyright Page
• Dedication
• About the Author
• Contents
• A Word About Adaptations
• Chapter 1 Finding the Key
• Chapter 2 Fabric Techniques
• Chapter 3 Paint Techniques
• Chapter 4 Clay Techniques
• Chapter 5 Collage Techniques
• Chapter 6 Miscellaneous Techniques
• Suggested Supplies
• Index