The main sources on occupational or professional licensure appear in the fields of economics and sociology. Whereas manufacturing industry unions dealt primarily with the employer-employee relationship, the rise in importance of licensure reflected the additional need for regulation around consumer welfare in the services industries.
The service provider must be aware of knowledge and skill limitations or risk being called a charlatan see Appendix F; Fox, Therefore, licensure can increase quality control within professions Akerlof, In Capitalism and Freedom, however, another Nobel prize-winning economist, Friedman , questioned the privilege and biases of licensors.
According to Friedman, licensure arbitrarily defines and sets boundaries to the profession. Licensed doctors are assigned duties that could otherwise be shared across health professions in a more fluid manner.
Friedman stated:. It renders special groups impotent to prevent experimentation and permits the customers and not the producers to decide what will serve the customers best.
Friedman, , p. Professional licensure and mental health. Registration, accreditation and licensure are normative in the mental health-related fields Rubin et al. The process towards licensure often involves a professional body that gradually increases its regulatory scope or mandate from within the profession, to representation and engagement with state or provincial government, to national licensure.
First, a non-governmental professional organization will certify its members and approve training programs, and keep a registry of its active members. The eventual step is licensure, first by region, state or province, and then nation-wide.
For countries that do not have licensure, state registry provides a way to nationally regulate a profession McBurney, n. A comprehensive discussion of the professional registration and accreditation processes is beyond the scope of this paper. Evidence-based research, especially randomized control trials help to legitimize fields Jones, Licensure then occurs state by state, or province by province. So, like Friedman said, are not registration and accreditation enough?
Arguably, older practitioners can help develop competency in their mentees within the field, as long as the mentors are not overburdened Landy, Unfortunately, turning to apprenticeship or mentorship does not protect professions from the charlatan label, because established professions want to see measurable results.
However, if laying claim to abstract knowledge and proving efficacy in quantifiable ways is necessary, how does a mental health-related profession proceed? Must it adopt the scientific language and develop randomized control trial studies?
Moreover, if smaller professions are relatively unknown to the general population, will greater professional regulators turn to arguments regarding competency? According to sociologist Orzack , the charlatan label neither comes from within the profession in question, their clients, nor the general population.
So why persist in seeking licensure if it means conflict within the profession and with more established professions? According to Goode , the successful professionalization process through licensure can bring a level of generally recognized power, prestige and income and a desire to maintain this occupational achievement— once licensed, no profession de-licenses.
The process. So how does one mental health profession get licensed but not another? North American context.
Establishing a profession with licensure is a process that requires a sustained commitment Robiner, For example, after a series of territorial lawsuits in the United States with psychology boards in the early s, counselling was forced to delineate its identity as a profession and seek the right to practice through a long battle for licensure, nationwide.
The first state to license counselling was Virginia in , and the last state was California in Although licensing for mental health professions is far more common in the United States, Canada is increasingly engaging in delineating their mental health services through licensure by jurisdiction or province Canadian Psychological Association [CPA], The mental health professions that are rarely licensed in the United States include specialized professions like pastoral, addictions, and creative arts therapies Robiner, Part 2: Understanding Licensure for the Creative Arts Therapies and Drama Therapy Literature regarding licensure and the creative arts therapies is scarce.
Creative arts therapies: The need for a joint advocacy venture. According to Johnson , this coalition becomes necessary when separately licensing creative arts therapists in counselling, marriage and family and social work runs the risk of fragmenting the profession. Unfortunately, by , Johnson became doubtful that coming together as the creative arts therapies would be possible due to shame dynamics within modalities and other mental health professions Johnson, A tentative list of other areas in the world that have developed a drama therapy presence but have yet to register or regulate the drama therapy professional title includes: Israel, Holland, Australia, South Africa, Kuwait, Italy, Brazil, Hong Kong, Greece, Portugal, and Spain Jones, ; Landy ; Savage, personal communication, 10 June Licensure and Drama Therapy.
National [creative] arts therapies registries exist in the Netherlands and the United Kingdom, and the state of New York has successfully licensed its creative arts therapists. Although attempts were made to contact drama therapists and training programs in the Netherlands, no further information or publications regarding professionalization practices were forthcoming.
However, the drama therapy professionalization processes of the United Kingdom and the United States have been written about, and are summarized below. United Kingdom. Prior to being nationally licensed, a surge of literature emerged during the early to mids, primarily in the journal Dramatherapy. Doktor explained that in , two major advocacy pushes were occurring in drama therapy: The United Kingdom Standing Committee for Psychotherapies was debating whether the [creative] arts therapies could be considered a humanistic psychotherapy, while national registration was being explored through the Council for Professions Supplementary to Medicine.
Within the profession, drama therapists attempted to figure out to what extent drama therapy was psychotherapeutic versus arts-based. As the advocacy measures for state-registration were underway in the United Kingdom, Langley re-characterized the psychotherapy-dramatherapy debate in two ways. According to Langley, if psychotherapy is the umbrella term used for any intra-psychic work, then the arts could be considered as an approach to psychotherapy alongside psychodynamic, analytic, humanistic, and behavioural approaches.
Otherwise, if looked at in a broader therapeutic lens, then the arts could be seen as its own therapy, separate from psychotherapy, with its own language and approach. Jones warned against trying to use theatre or psychology terminology or concepts to understand and write about drama therapy.
United States. In the United States, drama therapists have been more likely to include psychotherapeutic terms within their definitions of drama therapy. However, some drama therapists claim that building bridges between psychotherapy and drama therapy could be beneficial for drama therapy as a field.
From my perspective, integrating the two would be positive for both. Although this debate has not been settled officially, dialogue continues within the drama therapy field. North America: Current state of licensure and creative arts therapies. In other states, creative arts therapies may or may not fall under counselling, psychotherapy, or marriage and family therapy licenses McCabe, In Canada, drama therapists are excluded from a professional order in Quebec, and unregulated across the country.
However, in the Canadian province of Ontario, practicing creative arts therapists may apply to be grandfathered in as Registered Psychotherapists until March , under Chapter 10, section R of the Psychotherapy Act of , which was proclaimed into force on 1 April The Ontario Psychotherapy Act includes verbal and non- verbal treatments in its definition of psychotherapy Psychotherapy Act, Thus, it appears that drama therapists will be included in the psychotherapy licensure law.
Recent developments. Given that creative arts therapists have been granted counselling licenses in some jurisdictions in the past, this new resolution may indicate hope for a change in tide regarding restrictive licensing measures protecting the psychotherapy professional title Reeder, In New Jersey, state assembly member John F. This follows the A Act in New Jersey in which sought licensure for art therapists, first presented in by the same assembly member John F.
Advocates are awaiting a presentation in front of the New Jersey Assembly McKechnie, personal communication, 2 June As of , psychotherapy licensure remains open to psychologists with PhDs, doctors, nurses, occupational therapists, psychoeducators, sexologists, criminologists, guidance counsellors, social workers and couple and family therapists Plante, The group of creative arts therapies comprised in Quebec of art, music, dance and drama therapy is not included amongst ordered professions in Quebec, nor is it eligible for psychotherapy licensure.
In December , Dr. Jean-Bernard Trudeau addressed the National Assembly of Quebec on behalf of a committee of experts over which he presided. The creative arts therapies were not mentioned.
These advocates presented their case at a public meeting of the National Assembly. According to Plante, the advocates submitted an art therapy document during this meeting which argued the case for art therapy and other creative arts therapies inclusion, and made the statement that there would be grave repercussions within the creative arts therapies profession should the Office of Professions fail to amend the law Plante, This council reviewed the AATQ document and sought additional confidential consultations and opinions from psychotherapeutic professional orders in order to craft an informed response to the AATQ Plante, In , while waiting for an official government response, creative arts therapies advocates founded a committee for the creation of a professional order for the arts therapies OPTA Snow, personal communication, 4 August However, the official response received in late rejected art therapy as a psychotherapy in a single-page letter.
OPTA pushed for an official thorough explanation, which was eventually provided by the Office of Professions in late see Appendix H. Between and , there was a grandfathering period for arts therapists working in the mental health field prior to Arts therapists including drama therapists who met requirements were eligible to apply for and receive a permit until Grandfathered creative arts therapists had access to a permit to practice, but did not have access to an order.
Bill 21 became Law in July Since , creative arts therapies advocates at Concordia and UQAT have done surveys to help determine the potential impact of the Law on professionals, and have informally presented their findings, with no publications to-date. Stephen Snow which included representatives of art, dance, drama and music therapy. In , a law firm was consulted in order to determine whether creative arts therapies ought to legally challenge the law. Minutes from this meeting reveal that the firm discouraged further legal action due to legal precedents Opolko, personal communication, 26 September In response, OPTA has since decided to shift away from Law 21, towards the creation of an Order for Creative Arts Therapies, by having art therapy advocates take the lead in advocacy measures with the Government of Quebec Plante, personal communication, 2 September Pierre Plante indicates that this decision was made for several reasons Plante, personal communication, 2 September On the practical side, the provincial art therapy association AATQ submitted the original document, and received a document in which the OPQ expressed that art therapy could be seen as a form of psychotherapy.
In terms of art therapy professionalization in general, Plante expressed his belief that art therapy has sufficient research literature to support the efficacy of art therapy and delineate its scope of practice.
However, in Quebec, the creative arts therapy modalities are professionalizing at different paces. Drama therapy does not have a provincial organization, and only has one training program in the province, in English.
Art therapy has two art therapy programs in Quebec including one in French, which has helped the greater predominantly Francophone public gain a basic awareness of art therapy over other creative arts therapies. As a result, as of , OPTA now includes three art therapists, two music therapists, one drama therapist and one registered psychologist. There are no dance movement therapists on OPTA. Their meetings occur in French and their meeting minutes and other documents are not easily accessible online or available in English.
Though Law 21 has created a systemic shift in the mental health field, the impact of the law is yet to be determined for drama therapists. However, researchers in other related professions have examined the impact of laws or licensure on professional development through phenomenology, and a brief overview of their findings provides context to my phenomenological study.
In total, there are four relevant phenomenological case studies: 1 in art therapy, 2 in counselling, and 1 in social work, which are summarized below. The researcher bracketed her own experience. She found that participants expressed a wide range of professional identities, and were influenced most by threatening experiences not having a supervisor with an art therapy orientation, expressed need for licensing laws and greater public awareness and nurturing experiences community, program, passion for art therapy as a student and young professional Feen-Calligan, , p.
Feen-Calligan makes recommendations for both educators and students. For educators, she recommends more professional development in the training through information sharing, discussion and memoir methodology. She underlines the importance of student reflection and proper supervision within the modality.
She also encourages the use of evidence-based practices and student exposure to evidence- based research. Finally, Feen-Calligan recommends that students work towards grants and specialization and pay attention to national politics by joining professional organizations. The primary investigator was not successful in applying for licensure and attempted to bracket his experience.
While all participants sought licensure and agreed with the concept of protection of the public, themes found by the researchers included: financial predicament, unwanted decisions, sense of helplessness, and insufficient preparation. They recommend that educators inform their students of future costs of pursuing licensure, that licensee-applicants take time for self-care, and that legislators examine whether some of the requirements actually fulfill their intended purpose of ensuring quality care for clients.
The authors attempted to control for their personal vested interest in the study by using member checks, peer review and researcher memos. Roach-Anleu investigated what factors led social workers to successfully claim professional status. Literature Review Conclusion Understanding licensure and related advocacy initiatives in relation to the creative arts therapies is crucial to the establishment of this profession in the mental health field Johnson, Licensure laws open to the creative arts therapies are few in North America.
Often, creative arts therapies attempt to be included within larger counselling, couple and family therapy, or psychotherapy licensure laws.
Advocacy work in this area is nascent. Current publications reflecting updates regarding this central issue in drama therapy as a profession are non-existent. In the meantime, any jurisdiction or province that accepts or reject the creative arts therapies in their licensing laws may provide legal precedent for other jurisdictions, as licensing in mental health increasingly becomes the norm.
Thus, obtaining access to a permit or license has the potential to greatly affect the health and development of drama therapy and the creative arts therapies on a systemic level. Therefore, I will break down my phenomenon into three overall subjects or components: law 21, professional practice, professional identity. Phenomenology and Focus Groups In terms of philosophical interpretive frameworks, my line of inquiry is inspired by both critical and social constructionist theories.
Anti-foundationalism is a postmodern concept that rejects the epistemological belief of one ultimate Truth, or the ability to ground knowledge in certainty Buchanan, a. In other words, I do not believe that my research will generate the ultimate and only Truth regarding the lived experience of the professional praxis of all drama therapists in Quebec between mid to the end of April Reification involves treating intangible human qualities and behaviors as tangible objects, which may lend itself to the notion of commodification and ownership of ideas Buchanan, b.
Therefore, by placing oneself against reification, anti-capitalist and other critical approaches can be implied or supported Buchanan, b. Phenomenology is based on publications by Husserl , Heidegger , and closely tied to the philosophical writings of Levinas , Merleau-Ponty , Derrida and Sartre Focus groups.
Bias Specifically, I hope that the readers of this paper will use this information to help lobby government agencies to legitimize and better position drama therapy and the creative arts therapies in Quebec and abroad moving forward regardless of findings.
Though Law 21 has already come into effect, my research presents the lived experience of drama therapists who have practiced during the time Law 21 came into effect until April , when my focus groups occurred.
There appears to be a removal of choice and access to clients by the government. Thus, if seen through a social justice and systemic lens, by placing importance on the lived experience of an outlawed population, I am attempting to place more power into the hands of those excluded by Law This is my bias as a non-eligible drama therapy graduate and advocate for the profession. In fact, the whole phenomenological research process becomes informed by critical theory, because each personal perspective is inextricably linked to notions of power and privilege.
Activism and researcher influence. My phenomenological study will include my own personal journal entries and memos, as well as transcribed dialogues and researcher observations from focus groups. Given that I am a creative arts advocate and drama therapy student, then my research would not be effective if I were to enter into the focus groups with a political agenda. Because of my lack of distance with the material, I will attempt to be cognizant of my bias and monitor it during every stage of the research using a transcendental phenomenological approach Moustakas, More specifically, in order to capture this multiply layered phenomenon, I will need to be diligent in holding back or bracketing my desires for actionable outcomes and any presuppositions that I may have going in to the data-collection portion of the research.
Validity and Reliability Phenomenological research, by definition, occupies a specific time and place, and is co- constructed by researcher and participants, making it unique and non-repeatable or generalizable Vagle, ; van Manen, Like Koltz and Champe , I will attempt to control for my bias and address quality validity and reliability by member-checking any quotes, seeking peer-review with creative arts therapies advocates, and using researcher memos at all stages of the study.
Other Ethical Considerations Creswell presents a chart of general ethical considerations during the research process pp. It was important to not include participant identifiers in my research report through a strict maintenance of participant confidentiality due to the potential professional impact on participants. Inspired by other drama therapists who have published phenomenological studies, I member-checked with advocates and sought participant approval for the use of quotes in the final report e.
Butler, I also needed to account for any outlying data in my final report Creswell, Like other phenomenological case studies that examine professional development with phenomenological case studies, I remain cognizant of power dynamics within the researcher- participant relationship.
For example, I was junior to two focus groups and amongst my peers in the third and final student group. For this reason, I built in a check-in question towards the middle of my question guide, and passed around a resource list for seeking additional help regarding professional anxiety see Appendices B and E. Of the 45 contacted, 10 agreed to participate in an in-person focus group. Once their informed consents were received, participants met in a convenient and agreed upon location in order to participate in a During each focus group, an interactional process that empowered participants to converse and self-direct the flow of conversation was encouraged Millward, This desire for dialogue over discussion was stated directly in my interview script see Appendix B.
Data analysis and interpretation approach. According to Strauss and Corbin , the data is first openly coded, which involves going through the data line by line and developing broad categories with dimensions and properties that will then be organized into concepts. Then, during axial coding, interconnections between categories of data are made and named.
Although I did not attempt to develop a grounded theory from the data, I attempted to provide a textural and tentative structural description of the phenomenon Moustakas, ; Creswell, In sum, by successfully harnessing my researcher bias and exploring the various ways drama therapists have experienced their professional praxis in relation to the implementation of Law 21 in Quebec, a layered and complex description of the phenomenon emerges.
Only after a greater examination of these themes will I be better situated to make tentative recommendations regarding advocacy work moving forward in the province. A total of 3. Four out of ten participants were psychotherapy permit holders at the time of their focus group, while six out of ten were not. The six were ruled ineligible by the Order, either because they graduated post, or did not have enough clinical hours during the grandfather period.
The non-grandfathered participants currently work in community centers and schools, under different titles. The four grandfathered professionals work in private practices and within agencies.
Shared Themes Across All Focus Groups Participants were invited to share their knowledge about Law 21, and to describe their identities and practices as a drama therapist with the help of a Question Guide see Appendix B. Some themes were shared across all focus groups, and these themes are summarized below.
However, one theme that was present in all focus groups was that Law 21 presented drama therapists with a lack of choice. Next, one area where all respondents came together was in expressions, insights and descriptions of drama therapy professional identity. Finally, regarding drama therapy practice, all focus groups mentioned the importance of finding insurance, and described their client contact as unchanged since the Law came into effect.
Law Choice and access. As a result, emerging drama therapists are forced to work under different titles contractually in community center settings or seek another degree in a related field. This lack of mobility is experienced as lack of choice. I love being a drama therapist and I really believe in it. For job postings online. But once I did get it, I was able to—I was much more employable, once I got grandfathered into get the permit.
For example, Participant 4 did not want to leave a position for fear that drama therapy would not be offered at the site again. Another participant stated that relationships that had been building up between drama therapists and sites for years had been cut off due to structural changes caused by Law 21 Participant 9. A treatment that works for them. It [drama therapy] works for them! In sum, non-permit holders felt professional mobility limitations, whereas permit holders felt an increase in choice and accessibility, which led, in general, to an increase in professional pride.
However, two questions that emerge regarding drama therapy identity include: how has the licensure law affected the perceived professional identity of non-permit holders; and has the exclusion of drama therapy in Law 21 filtered down and affected the core perceptions of all interviewed drama therapists in terms of professional identity? Responses regarding drama therapy identity were similar across all focus groups, indicating no real change since Law 21 came into effect.
Every drama therapy focus group spoke about an ever-present belief in and passion for drama therapy. So I think, moving forward, that kind of passion, and our determination and our knowing that this matters is what we need to have moving forward. The deepest work I do is with the drama. I am always floored. I am always so appreciative about the art. All emerging professionals who participated in this study felt the exclusion from Law 21 and expressed feelings of fear and shame, a theme that has been remarked upon in the drama therapy literature Johnson, This handbook provides a comprehensive introduction to the theory and practice of psychodrama for professional and trainee psychodramatists.
Following an introduction to the history and philosophy of psychodrama the theory is then brought to life by detailed first-hand accounts of psychodrama sessions. The structure of the book innovatively reflects that of the classic psychodrama session - Warm Up, Action, Sharing and the subsequent Processing.
Chapters on psychodrama in action include discussion on the new use of psychodrama in the treatment of depression, and the relationship of the discipline to other group psychotherapies. The contributors vividly illustrate the contribution dramatic improvisation can make to emotional health. Drama plays a crucial role in healthy human development and dramatherapy can be particularly effective in helping troubled children or adolescents. In this book, twelve contributors, writing from a range of international and theoretical perspectives, show how the dramatic element in people's lives plays its part in patterns of healthy and unhealthy development.
They describe practical ways of using dramatherapy with both groups and individuals and demonstrate that dramatherapy is a strategy that works, helping to bring about change and creativity. Dramatherapy with Children and Adolescents will be invaluable to all professionals who work with children, including social workers, probation officers, nurses and teachers, as well as dramatherapists and play therapists. Author : Robert J. Emerging from the first degree-granting program in drama therapy, this text is the first to examine drama therapy as a discipline.
It deals not with drama in therapy but with drama therapy itself, documenting its legitimacy as a distinct field.
After reviewing its dramatic and psychotherapeutic context, the author examines the conceptual basis of drama therapy, tracing its interdisciplinary sources and delineating important concepts from related fields. A theoretical model of drama therapy is offered, based on the source material.
The most widely practiced techniques of drama therapy are examined, including psychodramatic practices and projective techniques. The author also focuses on appropriate populations and settings: the emotionally, physically, socially, and developmentally disabled in schools, clinics, hospitals, prisons, and other environments. Special attention is directed to therapeutic theatre performances. The text concludes with reports of research, past, present, and future, and offers observations based upon the significant role drama therapy can play in fostering balance within individuals and among peoples.
Routledge International Handbook of Dramatherapy is the first book of its kind to bring together leading professionals and academics from around the world to discuss their practice from a truly international perspective. Dramatherapy has developed as a profession during the latter half of the twentieth century.
Now, we are beginning to see its universal reach across the globe in a range of different and diverse approaches. Using traditional texts in the Indian sub-continent, healing performances in the Cameroon, supporting conflict in Israel and Palestine, through traditional Comedic theatre in Italy, to adolescents in schools and adults with mental ill health, this handbook covers a range of topics that shows the breadth, depth and strength of dramatherapy as a developing and maturing profession.
It is divided into four main sections that look at the current international: Developments in dramatherapy Theoretical approaches Specific practice New and innovative approaches Offering insights on embodiment, shamanism, anthropology and cognitive approaches coupled with a range of creative, theatrical and therapeutic methods, this ground breaking book is the first congruent analysis of the profession.
It will appeal to a wide and diverse international community of educators, academics, practitioners, students, training schools and professionals within the arts, arts education and arts therapies communities.
Additionally it will be of benefit to teachers and departments in charge of pastoral and social care within schools and colleges. This book considers the relevance of ritual theatre in contemporary life and describes how it is being used as a highly cathartic therapeutic process. With contributions from leading experts in the field of dramatherapy, the book brings together a broad spectrum of approaches to ritual theatre as a healing system.
Written by the directors of the world's major training programmes in dramatherapy, this book presents their approach to and theory of brief dramatherapy, which is offered in treatment settings for acute or chronic in-patient populations and out-patient or community health settings with a maintenance, rehabilitation or personal development purpose. Drama as Therapydescribes and defines dramatherapy, providing in one volume a definition of the core processes at work in dramatherapy, a clear description of how to structure sessions, a thorough review of techniques and a wide range of examples from clinical practice.
At the heart of the book is a definition of the nine core processes which define how and why dramatherapy can offer the opportunity for change. Also included are step-by-step breakdowns of the ways of working with a broad range of clients. Methods and approaches are illustrated with case examples that range from clients in private practice in California, through students in drama therapy training in the UK, to inmates in Lebanese prisons.
Author : David Emerson Publisher : W. For these individuals, the trauma and its effects are so entrenched, so complex, that reducing their experience to a set of symptoms or suggesting a change in cognitive frame or behavioral pattern ignores a very basic but critical player: the body. In cases of complex trauma, mental health professionals largely agree that the body itself contains and manifests much of the suffering—self hatred, shame, and fear.
Take, for example, a woman who experienced years of childhood sexual abuse and, though very successful in her professional life, has periods of not being able to feel her limbs, sensing an overall disconnection from her very physical being. Based on research studies conducted at the renowned Trauma Center in Brookline, Massachusetts, this book presents the successful intervention known as Trauma-Sensitive Yoga TSY , an evidence-based program for traumatized clients that helps them to reconnect to their bodies in a safe, deliberate way.
Synthesized here and presented in a concise, reader-friendly format, all clinicians, regardless of their background or familiarity with yoga, can understand and use these simple techniques as a way to help their clients achieve deeper, more lasting recovery. Emphasis is always placed on the internal experience of the client him- or herself, not on achieving the proper form or pleasing the therapist.
As Emerson carefully explains, the therapist guides the client to become accustomed to feeling something in the body—feet on the ground or a muscle contracting—in the present moment, choosing what to do about it in real time, and taking effective action. In this way, everything about the practice is optional, safe, and gentle, geared to helping clients to befriend their bodies.
With over 30 photographs depicting the suggested yoga forms and a final chapter that presents a portfolio of step-by-step yoga practices to use with your clients, this practical book makes yoga therapy for trauma survivors accessible to all clinicians. As an adjunct to your current treatment approach or a much-needed tool to break through to your traumatized clients, Trauma-Sensitive Yoga in Therapy will empower you and your clients on the path to healing.
Creative Arts-Based Group Therapy with Adolescents provides principles for effective use of different arts-based approaches in adolescent group therapy, grounding these principles in neuroscience and group process practice-based evidence. These methods are uniquely effective for engaging adolescents and addressing many of the developmental, familial, and societal problems that they face.
The text offers theory and guiding principle, while also providing a comprehensive resource for group therapists of diverse disciplines who wish to incorporate creative arts-based methods into their practice with teens. Author : Sandra L.
This is the third in a trilogy of books that chronicle the revolutionary changes in our mental health and human service delivery systems that have conspired to disempower staff and hinder client recovery. Creating Sanctuary documented the evolution of The Sanctuary Model therapeutic approach as an antidote to the personal and social trauma that clients bring to child welfare agencies, psychiatric hospitals, and residential facilities.
Destroying Sanctuary details the destructive role of organizational trauma in the nation's systems of care. Restoring Sanctuary is a user-friendly manual for organizational change that addresses the deep roots of toxic stress and illustrates how to transform a dysfunctional human service system into a safe, secure, trauma-informed environment.
At its heart, The Sanctuary Model represents an organizational value system that is committed to seven principles, which serve as anchors for decision making at all levels: non-violence, emotional intelligence, social learning, democracy, open communication, social responsibility, and growth and change. The Sanctuary Model is not a clinical intervention; rather, it is a method for creating an organizational culture that can more effectively provide a cohesive context within which healing from psychological and socially derived forms of traumatic experience can be addressed.
Chapters are organized around the seven Sanctuary commitments, providing step-by-step, realistic guidance on creating and sustaining fundamental change. It explores the notion that organizations are living systems themselves and as such they manifest various degrees of health and dysfunction, analogous to those of individuals.
Becoming a truly trauma-informed system therefore requires a process of reconstitution within helping organizations, top to bottom. A system cannot be truly trauma-informed unless the system can create and sustain a process of understanding itself. Providing school-based mental health providers with the necessary tools to help intervene on behalf of students struggling to overcome trauma, this volume features engaging case studies and an overview of evidence-based interventions.
The integration of animals into the therapy setting by psychotherapists has been a growing trend. Psychological problems treated include emotional and behavioral problems, attachment issues, trauma, and developmental disorders. An influential s survey suggests that over 20 percent of therapists in the psychotherapy division of the American Psychological Association incorporated animals into their treatment in some fashion.
Anecdotal evidence suggests that the number is much higher today. Since Yeshiva University psychologist Boris Levinson popularized the involvement of animals in psychotherapy in the s, Israel has come to be perhaps the most advanced country in the world in the area of animal-assisted psychotherapy AAP. This is true especially in the areas of academic training programs, theory-building, and clinical practice.
Great effort has been put into understanding the mechanisms behind AAP, as well as into developing ethical guidelines that take into account the therapist's responsibility toward both client and animal. This book exposes the world to the theory and practice of AAP as conceived and used in Israel.
It emphasizes evidence-based and clinically sound applications with psychotherapeutic goals, as differentiated from other animal-assisted interventions, such as AAE animal-assisted education and AAA animal-assisted activities , which may have education or skills-oriented goals. Not just anyone with a dog can call him-or herself an animal-assisted therapist. This volume demonstrates not only the promise of animal-assisted psychotherapeutic approaches, but also some of the challenges the field still needs to overcome to gain widespread legitimacy.
Drama as Therapy Phil Jones. Persona and Performance Robert J.
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