By Marian Liebmann
'An first-class, stimulating account by way of an skilled paintings therapist of ways and with what end result this technique can be utilized in groups.' - British magazine of Psychiatry
'This moment version has a fund of knowledge for working towards artwork therapists and others that's important. Being subject established just like the first, it offers higher assets for nearly any occasions referring to operating with groups... a listing of assets, a accomplished bibliography and hyperlinks with different paintings treatment enterprises in different international locations offers this e-book a universial attraction. such a lot practitioners will benifit from having a replica on their publication shelf.' - Kanta Walker, The Psychotherapist, Autumn 2004
About the Author
Marian Liebmann has labored as a instructor, neighborhood employee, probation officer and paintings therapist. She has labored in artwork remedy with offenders, with women's teams and neighborhood teams, and presently on the internal urban psychological future health carrier in Bristol. She teaches and lectures on artwork remedy at numerous universities within the united kingdom and eire. She additionally works in mediation and clash answer, and has run paintings and clash workshops in lots of nations.
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Extra info for Art Therapy for Groups: A Handbook of Themes and Exercises (2nd Edition)
Therapist and facilitator roles There are many styles of facilitating a group and observation of other group facilitators and therapists is most helpful in deciding which style is suitable for you and your group. It is also worth consulting some books on groupwork. A few points are worth emphasising here. Presence of a co-therapist or co-facilitator This can be very valuable as it means there are two people to discuss how to run the group in the first place, and this can avoid many pitfalls. In the session itself a co-facilitator can provide a ‘model’ for group members, can support the lead facilitator and (if necessary) go and help a group member who leaves suddenly.
The group does not come together for any discussion. This was historically the first kind of art therapy group and is still used for low-key, long-term art therapy groups where painting together with others is important but a formal or interactive group would be too stressful (Adamson 1984; Deco 1998). One organisation currently specialising in this approach is Studio Upstairs: ‘a unique therapeutic community for those whose talents and interests can be expressed through the arts, but who may be too vulnerable to participate in the traditional artistic institutions… Members work side by side, and a flexible approach is taken to meet individual needs’ (Studio Upstairs 2002; see Resources section for address).
How will you gain access when you run your group? Is the room wheelchair accessible? Where are the toilets in relation to the room? Where is the designated smoking area, and is it inside or outside the building? Is the room light enough in daylight or artificial light? Is there access to a sink and water? Are there tables and chairs? Is there enough floor space for what you want to do? Is there room for paintings to dry? Where will you hold discussions of work done? Will the room dictate using dry media only?
Art Therapy for Groups: A Handbook of Themes and Exercises (2nd Edition) by Marian Liebmann