Hogan S 2001 Healing Arts the History of Art Therapy

Art Therapy A Form Of Psychotherapy Essay

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Art Therapy a form of psychotherapy?

Since the middle of the twentieth century, artistic expression and creation have been seen as valuable assets in the context of therapy and rehabilitation. The impact that art therapy has had on the field of psychology is undeniable, and its influence has contributed to the evolution of various diagnostic tools and interventions used in psychotherapy. The practice of art therapy involves the process of image making and its resulting products, besides as the relationship dynamic betwixt the client and the therapist in relation to the image and/or each other (Edwards, 2004). Specific definitions of the term 'art therapy' are conflicting and numerous (Edwards, 2004). Currently, the British Association of Fine art Therapists perceives fine art therapy as process of practitioners enabling psychological and emotional growth and change in clients through artistic cosmos, and the relationship between the client and the therapist is viewed as integral to the therapeutic success of art therapy (Karkou & Sanderson, 2006). Several debates exist with the fine art therapy profession regarding its own identity (Karkou & Sanderson, 2006). In detail in that location is some disagreement amongst art therapists in regard to whether art therapy is a class of psychotherapy. The following discussion explores this conflict through an examination of the theoretical contributions of a few prominent figures in the field of fine art therapy.

There is business organisation surrounding where fine art therapy fits in as a therapeutic modality, and whether it could be considered a course of psychotherapy. Misconception exists among many art therapists that the origins of fine art therapy exist solely in the domain of psychoanalysis. The term 'art therapy' was actually coined in 1942 past Adrian Colina, an creative person, who pioneered the apply of fine art as a therapeutic modality (Hogan, 2001). Colina was a landscape and impressionistic painter and taught life and anatomy drawing classes at Westminster School of Art until he became ill with tuberculosis in 1938. While he was in a sanitorium being rehabilitated for tuberculosis, Loma became interested in the use of art as therapy. He observed improved his own psychological, concrete, and emotional healing as a result of creating art, and became a proponent for this process, influencing other patients to draw and paint equally part of their treatments (Hogan, 2001). Hill purported that art therapy acted as a stimulus that could potentially counteract physical and mental atrophy that was experienced as a upshot of long-term convalescence (Hogan, 2001).

In regards to his formulation of art in the context of rehabilitation, Colina believed strongly in the therapeutic application of art, and promoted the idea of art as therapy rather than art in therapy (Hogan, 2001). Although reluctant, Hill used the word 'therapy' when he created the term art therapy with the intention of gaining back up from the medical profession for the use of fine art every bit a therapeutic intervention (Hogan, 2001). He felt that the word 'therapy' in this context sounded "quackish," but somewhat necessary for bringing on board the medical profession, whose support would bring increased validity to the emerging field of art therapy (Hogan, 2001).

Hill'due south behavior surrounding the therapeutic contributions of fine art therapy bespeak that he considered it to be a course of psychotherapy. Art therapy was considered by Colina to hold more than therapeutic value than merely a diversional occupation, and that it held great diagnostic value in determining the source of psychological bug and disorders (Hogan, 2001). The role of the therapist, according to Hill, was to provide the customer with the opportunity to illuminate buried mental disharmonize. This unconscious mental strife is and then transmuted through the procedure of creative creation resulting in the end product of a cartoon or painting, which further resulted in the cathartic release of unconscious negative emotions and thoughts (Hogan, 2001). Loma even suggested that art therapy could brand the difference between life and

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Loma was in disagreement with attempts to align art therapy with the field of education in the 1960s, as he believed that art therapy yielded benefits that were more rehabilitative and therapeutic in nature (Hogan, 2001). In 1948, The National Association for Prevention of Tuberculosis issued a argument that attested to the validity of Loma's work in fine art therapy. This report outlined the merits of art therapy, indicating that it gave artistic occupation to tuberculosis patients who often experienced long periods of isolation and anxiety, and that fine art therapy was useful for purging negative emotions associated with depression and illness (Hogan, 2001). Art therapy as skillful past Hill was seen as a way to delve deep into the human subconscious, to places where medicines and x-rays cannot reach (Hogan, 2001). This further gave credit to Hill's promotion of art therapy equally an effective therapeutic modality.

Another early proponent of art therapy was Dr., Irene Champernowne, who in 1942 set up an experimental center for psychotherapy through the arts in Devon called the Withymead (Waller, 1991). This therapeutic heart had considerable influence on the evolution of art therapy in Britain, every bit it was the starting time reported community where psychotherapy was combined with fine art therapy (Waller, 1991). Champernowne was heavily influenced by Jung in her early on contribution to art therapy (Instance & Dalley, 1992). Dissimilar Loma, Champernowne conceptualized art therapy as a modality split up and different from psychotherapy (Waller, 1991). Champernowne saw a articulate distinction between the role of an art therapist and the role of a psychotherapist (Killick & Schaverien, 1997). The part of the art therapist was defined specifically every bit a facilitator for the creation of artworks by clients, while the psychotherapist would explore the deeper, subconscious meanings behind the pictures created by clients (Waller, 1991). According to Champernowne, the role of an art therapist could be divers as a "mid-wife" in the therapeutic process (Waller, 1991). Although she had feel in paradigm-making, Champernowne stood firmly in her role as a psychotherapist, and art therapy was considered as an adjunct to psychotherapy (Waller, 1991; Example & Dalley, 1992). This, even so, did not diminish Champernowne'south belief in the value of fine art in the therapeutic process, as she promoted the idea that words alone were not the about optimal medium for the expression of deep life experiences, and that created images may be more than constructive in many therapeutic situations (Waller, 1991).

Art is a powerful medium since it is a ways for expressing and communicating strong emotions (Waller, 1991). Champernowne believed art therapists should be highly skilled at their ain art in order to effectively process the expressive communicative and expressive possibilities provided by fine art created by clients (Waller, 1991). Due to the intense an overwhelming images clients may produce through their art, psychotherapy was considered to be crucial for the support of art therapy (Instance & Dalley, 1992). Champernowne summed up this relationship betwixt the piece of work of fine art therapy and that of psychotherapy equally an 'uneasy partnership' (Case & Dalley, 1992).

Colina and Champernowne each held differing views regarding the place art therapy holds in the domain of psychotherapy. Loma saw the procedure of creating art and its finish product as psychotherapy in and of itself, while Champernowne maintained a clear distinction between the therapeutic roles of fine art therapists and those of psychotherapists. Somewhat of a compromise tin can exist found in the ideas of Schaverien, a Jungian annotator and who suggested different types of art therapy, non all of which could exist classified every bit psychotherapy (Karkou & Sanderson, 2006). Schaverien, who began her career as an artist and later became an art therapist, emphasizes the importance of art, art theory, and art history in the understanding of art therapy in its relationship to psychotherapy (Schaverien, 1993).

According to Schaverien, there are three types of exercise in the field of fine art therapy (Karkou & Sanderson, 2006). The first type of practice is simply termed 'art therapy', and it is characterized by a strong emphasis on the human relationship betwixt the client and the image created by them, and the relationship between the therapist and the image created by the client. This arroyo is primarily art-based, with the relationship between the client and the therapist given less significance. The second type of art therapy suggested by Schaverien is art psychotherapy, in which there is an increased accent on the relationship between the client and the therapist rather than the relationships betwixt these two individuals and the prototype created past the client. This second approach is considered to exist primarily based in psychotherapy, every bit the client-therapist relationship is seen every bit the about important attribute to the therapeutic process. The third and final blazon of fine art therapy suggested past Schaverien is belittling art psychotherapy. This is a more dynamic approach that where all the relationships involved in the therapeutic situation between…

Sources Used in Documents:

References

Instance C. & Dalley, T. (Eds.) (1992). The Handbook of Art Therapy. London: Tavistock / Routledge.

Edwards, D. (2004). Art Therapy. London: Sage.

Hogan, S. (2001). Healing Arts: The History of Art Therapy. London: Jessica Kingsley.

Karkou, V. & Sanderson, P. (2006). Art Therapies: A Research-based Map of the Field. Edinburgh: Elsevier Churchill Livingstone.

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