DIV. 10 AMERICAN PSYCHOLOGICAL ASSOCIATION VOL. 2 (2) Psychotherapy and the Arts Paul M. Camic & Lawrence E. Wilson, Co-3 llollis Sii'lcr - The Future Moves in Much Closet Courtesy of the Estate of Mollis Sigler Fig I: Student engaged m creating a plaster mask >-j»£S*rt-«MS.,l Fig 2 • Completed student mask, Fig. 4: Graduate students prior to a street performance. Fig 3: Completed student mask Gi aduate students learning technique with faculty member Susan Imus, Dance/Movement Therapy Department, Columbia College Chicago. m Bulletin of Psychology and the Arts Vol 2 (2) Contents Psychotherapy and the Arts - Paul M. Camic & Lawrence E. Wilson, Co-Editors 50 Building and Blending: Creating Places for the Arts in 78 i The moment of possibility: Current Trends in Drama Therapy Psychotherapy Ted Rubenstein Paul M Camic & Lawrence E. Wilson 82 Music as a Therapeutic Medium: An Introduction to Music 51 Philosophical Foundations of Expressive Arts Therapy: Towards Therapy a Therapeutic Aesthetic George L. Duerksen Stephen K. Levine 85 Van Gogh's Ear Talks!!: Creativity, Suffering and Aesthetic 56 Creating Outside the Lines: Enlarging Psychological Research Language through the Arts Kimberly McCarthy Shaun McNiff 89 After the Fact:Psychotherapy Is a Performing Art 59 C.I.S.M.E.W.: The Arts in Clinical Training Sarah Benolken Paul M. Camic 90 Authentic Movement and Witnessing in Psychotherapy 65 Erasing the Gridlines: An Interdisciplinary Studio Course for Wendy Wyman-McGinty Therapists Who Use Art Lawrence E. Wilson 67 What will we do today? A clinical psychology graduate student's 93 Division 10 News experience of the creative arts in therapy. 93 Message from the President-Elect Laura M. Gaugh Jerome Singer 69 Art Therapy and the Elephant Message from the Past President Harriet Wadeson Sandra Russ 14 Perspectives on the Profession of Dance/Movement Therapy: Past, Message from Bob Sternberg Present, and Future Robert J. Sternberg Robyn Flaum Cruz Announcements Join Division 10 Membership Application Division 10: Psychology and the Arts Name: Mailing Address: Email: Phone: (Work) (Home) Applying to Division 10 as (circle one): Fellow Member Associate Affiliate Student Affiliate APA Membership Number (if already a member) Annual Dues: $25.00 for Members, Associates, and non-APA-Affiliates; $20.00 for dues-exempt members who wish to receive the Bulletin of Psychology and the Arts; $15.00 for Student Affiliates fill out and mail to: American Psychological Association, Division 10: Psychology and the Arts, 750 First Street, NE, Washington DC 20002-4242 ¥ V Vol 2 (2) Bulletin of Psychology and the Arts learning, discovering and healing, in psychotherapy. Western cultural traditions have generally placed greater value on verbal communication to the near exclusion of other modes of expression and Building and Blending: communication. Our cultural valuing of verbal interaction has significantly Creating Places for the Arts in Psychotherapy influenced our decisions about what constitutes therapeutic interventions. Paul M. Camic The "talking cure" was placed by Freud at the pinnacle of the communica­ Columbia College Chicago & University of Chicago tion pile perhaps because he was more comfortable with talking as a road Lawrence E. Wilson to the unconscious. Certainly the talking cure would appear to fit into a McDougal Littell Publishers & Chicago School of scientific paradigm much more readily that any arts-oriented therapy would. Freud, as well as the early behaviorists, all sought approval from their physi­ Professional Psychology cal and biological science colleagues and desperately wanted to be thought There's an old Chinese curse: of as scientists, not philosophers, and certainly not as artists. Although "May you live in interesting there are exceptions, most mental health and behavioral problems do not times," the implication being, of respond consistently to verbal-based therapies, regardless of the theoreti­ course, that uninteresting times cal orientation which influences the therapy. We are not presenting the arts are preferable to those filled with in therapy as superior to verbal-based therapies—or as equal alternatives— action, with argument, with ad­ but as interventions that can be incorporated into current clinical practice vances in community and cultural to expand the clinical repertoire of psychologists and other mental health achievements, with change. We'd practitioners . like to suggest that we are living The scientific method of discovery of the laboratory is quite often not Lawrence E. Wilson in an interesting time right now, Paul M. Camic applicable to clinical work. This does not diminish the scientific method, aesthetically, when scientific discussions about the motives and objectives but it does call for a re-examination of what is considered "scientific" (Eisner, of artistic activity have the potential to remake the way we think about art 1981). Through the expansion of the research methods used in psychology and the way we use it in our personal and professional lives. (Camic, Rhodes, & Yardley, 2002), and through what Eisner has discussed This special issue of the Bulletin of Psychology and the Arts presents as connoisseurship in education (1991) and in psychology (2002), we be­ what we believe is an interesting and enthusiastic exploration of psycho­ lieve an opening for the arts-in-psychotherapy and an artistic examination therapy and the arts. Print media being limited in what it can record, our of psychotherapy (Lawrence-Lightfoot & Davis, 1997; McNiff, 1998) is front and back covers only contain only visual documentation. This does both possible and desirable. not reflect a limitation in the content of this issue or in the views of the We also believe in the importance of inquiring into the differences and editors. In introducing this special issue, we would also like to offer deep similarities in the experience of an artist making art versus someone in an appreciation to Cheryl Johnson-Odim, Dean of the School of Liberal Arts arts therapy situation making art. If we consider the art-maker's "gratifica­ and Sciences, and Steven Kapelke, Provost, Columbia College Chicago tion" factor as an important part of the overall picture, there seems to be a for their generous offer to underwrite the costs of color printing for our continuum of four significant pleasurable moments in the process of creat­ inside and outside covers. ing: the pleasure of the moment of inspiration, the enjoyment of the pro­ Up to the present time, psychotherapy, as a domain within doctoral train­ cess, the satisfaction of completion, and the exhilaration of display. Are ing in psychology, has been entirely oriented towards a verbal, mostly lin­ these moments the same for a Georgia O'Keeffe or a T.S. Eliot as for a ear and narrative mode of practice. Focusing on verbal discourse to the novice sculptor or a client presented with the chance to express an emotion exclusion of other modes of communication and expression has limited the in paint or clay or movement? If so, are we justified in continually differen­ development of psychotherapy unnecessarily. Human beings communicate tiating between "high" and "low" art, between professional and amateur, through movement, sound, visual images, and written language as well as between artist and artisan? If not, then why does expressive arts therapy through linear and verbal processes. To suggest that "healing" or "cures" work, and what is actually happening when we use art in therapeutic prac­ can occur only through a verbal-based therapy is to disavow or discount tice? the importance of the arts ethologically in Hominid_development. Art is We would like to suggest a different way of looking at the'cluster of amenable to promoting progressive adaptation and differentiation through phenomena we have traditionally called "art," one which is inclusive, in­ developing aesthetic form as well as content (Rose, 1996). terdisciplinary, and multimodal. The first section of this issue examines the The practice of psychotherapy in psychology is a recent one, arguably foundations of creative and expressive arts therapy and introduces discus­ beginning seventy or so years ago. With the exception of Carl Jung, few sion about the arts in clinical practice within professional psychology. For major theorists in psychology or psychiatry have incorporated movement/ the purposes of beginning our discussion we look at a multimodal philo­ dance, sound/music, words/writing, enactment/drama, and images/visual sophical foundation provided by Levine_who furnishes an anchor for ex­ art in their therapeutic work. It is as if verbal-based therapies have always pressive arts therapies within the Western philosophical and aesthetic tra­ been thought to be more scientifically advanced or theoretically superior dition. He also introduces expressive arts therapy as a domain distinct from than those that utilize the arts. Empirically this has not been shown to be the arts therapies of art, dance, drama and music and addresses the impor­ the case, yet psychology has developed what appears to be a deepening tance of considering aesthetic theories when using the arts clinically. McNiff bias in favor of verbal, linear, and more recently, prescription-like inter­ further discusses the philosophical and aesthetic foundations of the cre­ ventions. This bias reminds us of the license plates for the State of Mis­ ative arts therapies while calling for an arts-based research paradigm to souri which proclaim they are "The Show Me State"; clinical research in answer some of the questions current quantitative and qualitative social psychology has often rejected what cannot be seen and counted, thus lim­ science methods cannot. Both Levine and McNiff approach the discussion iting what therapies and interventions are deemed acceptable. of psychotherapy and the arts from the perspective of creative and expres­ We are certainly not suggesting a return to the times when treatments sive arts therapy researchers and clinicians. Camic proposes that the arts went unchallenged and therapists were not held accountable for their work.