Teaching-Learning Processes: Application of Educational Psychodrama in the University Setting

The use of effective teaching strategies should be developed from teachers’ reflections on educational needs. This study has a twofold objective: to identify needs in teaching-learning processes in the university setting as well as to present and examine the effectiveness of four psychodramatic techniques: psychodramatic images, soliloquy, role-playing and roda viva. A qualitative design using thematic analysis was followed. All 128 teachers participating in the Training in Teaching Skills: Educational Psychodrama (nine courses) were evaluated. Teachers (62.5% women) were from different disciplines. Two semi-structured group interviews were conducted using the focus group procedure. Focus groups were held at the beginning and end of each course (18 in total). The phases of thematic analysis were used as discourse analysis strategies. Teachers reported the need to develop active teaching practices with large groups, strategies to motivate students and skills for conflict resolution with students. Concerning psychodramatic techniques, emphasis was placed on the psychodramatic images to promote active learning and group construction of contents, exploring previous ideas and as an evaluation resource. In addition, the structured use of role-playing was positively assessed. These results identify specific teaching needs and support the use of psychodramatic techniques as a valuable educational resource in higher education

Healing attachment wounds: Drama therapy within an interpersonal theoretical frame as a group treatment modality

Drama Therapy is an active and experiential form of psychotherapy that is useful for group and individual therapy with a variety of populations (Dintino & Johnston, 1996; Emunah, 1999; Johnson, 2009; Landy, 1996, 2009; Sajnani, 2010). Often, there is ample work within the therapy process on understanding and shifting interpersonal patterns. Interpersonal Reconstructive Therapy (Benjamin, 2006; 2018) offers a set of organizing principles emphasizing how early relationship patterns are copied in present relationships with self and other in order to conceptualize and guide treatment, focusing on in-session processes (Critchfield & Benjamin, 2006). The potential for integrating Drama Therapy and interpersonal modalities such as Interpersonal Reconstructive Therapy is rich, as experiential interventions invite clients to engage through creativity and embodiment, reaching the “primitive brain” (Benjamin, 2018) where relational learning can take place. This mixed-methods study investigated a group protocol that integrates these approaches, evaluating the group processes and subsequent changes in participants’ interpersonal patterns and distress levels. The analysis of this group indicated that adaptive change occurred through factors of group connectedness and cohesion, experiential processes, validating experiences, identifying barriers and red patterns, finding new ways of being and desired future states, and integrating new ways of being within group sessions and in outside experiences. The adaptive change included measurable symptom reduction, particularly in areas most targeted by the group including lessening of functional (relationship) difficulties, as well as adaptive changes in self-treatment

From Therapeutic Factors to Mechanisms of Change in the Creative Arts Therapies:A Scoping Review

Empirical studies in the creative arts therapies (CATs; i.e., art therapy, dance/movement therapy, drama therapy, music therapy, psychodrama, and poetry/bibliotherapy) have grown rapidly in the last 10 years, documenting their positive impact on a wide range of psychological and physiological outcomes (e.g., stress, trauma, depression, anxiety, and pain). However, it remains unclear how and why the CATs have positive effects, and which therapeutic factors account for these changes. Research that specifically focuses on the therapeutic factors and/or mechanisms of change in CATs is only beginning to emerge. To gain more insight into how and why the CATs influence outcomes, we conducted a scoping review (Nstudies = 67) to pinpoint therapeutic factors specific to each CATs discipline, joint factors of CATs, and more generic common factors across all psychotherapy approaches. This review therefore provides an overview of empirical CATs studies dealing with therapeutic factors and/or mechanisms of change, and a detailed analysis of these therapeutic factors which are grouped into domains. A framework of 19 domains of CATs therapeutic factors is proposed, of which the three domains are composed solely of factors unique to the CATs: “embodiment,” “concretization,” and “symbolism and metaphors.” The terminology used in change process research is clarified, and the implications for future research, clinical practice, and CATs education are discussed

Embodied Creative Arts Therapy Interventions with Trauma: A Qualitative Study

With the primary purpose to extend therapists’ knowledge base, open dialogue on treatment efficacy, and stimulate creative yet effective interventions, this two-phase qualitative study pursued the guiding research question, How do creative arts therapists use embodied interventions in the treatment of psychological trauma? Phase One of the study was conducted with music therapists who had extensive experience with trauma and reported on their experiences with and awareness of embodied trauma treatment through a broad spectrum of creative modalities. Phase Two was grounded in theories of body awareness and creative arts therapy applications and included therapists specializing in music, dance/movement, art, drama, or expressive therapies modalities. This dissertation focuses on a presentation of the data analyzed during the study’s second phase. Seven creative arts therapists participated in Phase Two of the study. Participation entailed semi-structured, 45- to 60-minute interviews. Thematic qualitative data analysis revealed seven themes and nine subthemes, which are examined under the categories of factors in facilitation and interventions. Factors in facilitation include (1) a client-centered approach, (2) safety,(3) sociocultural factors, and (4) therapist resources. The themes categorized as interventions are (5) somatic awareness and interventions, (6) relational enactments, and (7) creative interventions. Themes of safety, sociocultural factors, and a client-centered approach pointed to participant support of a flexible, individualized approach to trauma work based on clients’ specific needs. Participants noted the need for sufficient therapist resources when treating trauma, which led to subthemes of clinical supervision, personal therapy, and individual creative exploration. Participant awareness of clients’ bodies as well as somatic countertransference led to somatic interventions. Participants also examined enactments inside the therapeutic relationship and included multiple forms of creativity in the treatment process. Outcomes may contribute to future research into multi-modal creative therapeutic treatment, client-centered approaches, and embodied trauma interventions

Choreography and Performance with Deaf Adults Who Have Mental Illness: Culturally Affirmative Participatory Research

Dance/movement therapy (DMT) techniques—particularly choreography and performance techniques—have not been well-researched with Deaf adults who have mental illness. This study investigated the use of DMT, choreography, and performance techniques with Deaf adults with severe and chronic mental illness through participatory artistic inquiry. Primary research questions addressed pragmatic matters of participatory artistic inquiry: What aesthetic choices will the co-researchers make in the dance-making process? How does the researcher provide structure and incorporate her experience as a choreographer without overshadowing the contributions of the co-researchers? Broader philosophical research questions included: How do choreography and performance techniques impact this population’s well-being? How does the use of American Sign Language and other culturally affirmative practices support the dance-making process? Data was gathered by engaging the participants as co-researchers, involving them in the development of research protocol, data collection, data analysis, and the presentation of the research findings. Findings indicated that engaging in a choreographic process addressed the co-researchers’ preexisting treatment goals, provided opportunities for transferring skills learned in previous DMT groups, and empowered the co-researchers to incorporate performance techniques common to Deaf culture. The final choreographic product was presented at the site where the co-researchers receive mental health services and shared with the larger mental health care community through a digital video recording and a publishable journal article

Practices of readiness: punctuation, poise and the contingencies of participatory design

How do we ready ourselves to intervene responsively in the contingent situations that arise in co-designing to make change? How do we attune to group dynamics and respond ethically to unpredictable developments when working with ‘community’? Participatory Design (PD) can contribute to social transitions, yet its focus is often tightly tuned to technique for designing ICT at the cost of participatory practice. We challenge PD conventions by addressing what happens as we step into a situation to alter it with others, an aspect of practice that cannot be replicated or interchanged. We do so to argue that practices of readiness are constituted by personal histories, experiences, philosophies and culture. We demonstrate this political argument by giving reflexive accounts of our dimensions of preparation. The narratives here are distinct, yet reveal complementary theories and worldviews that shape PD ontologies. We have organized these around the qualities of punctuation and poise as a way to draw out some less easily articulated aspects of PD practice

Examining Multicultural Competency Education in the Creative Arts Therapies

In the changing landscape of the United States, the skills and competencies of helping professionals must continue to address the unique needs of its various populations. As a growing field, the creative arts therapies must adopt multicultural values and standards necessary to remain competitive and relevant. This study addressed the issue of multicultural counseling competency training in the creative arts therapies from three perspectives: the governing association, the training institution, and the student/trainee. Throughout this study the term creative arts therapies includes art, dance/movement, drama, expressive arts, music, poetry, and psychodrama. Information concerning the associations for each of the seven creative arts therapies modalities, the National Coalition of the Creative Arts Therapies Associations, and 69 training institutions was pulled from their websites. Regulations for licensed mental health practitioners in the 50 states, the District of Columbia, and Puerto Rico were also researched. An on-line survey included demographic questions, questions about multicultural coursework and internship experiences of current students, questions about the professional experience of practitioners, and the Multicultural Awareness, Knowledge, and Skills Survey, Counselor Edition, Revised (MAKSS-CE-R). The MAKSS-CE-R assesses three domains of multicultural counseling competency: awareness, knowledge, and skills. Results indicated that 43% of creative arts therapies associations did not have specific requirements related to multicultural competencies, and six percent of states did not require licensure applicants to meet a multicultural competency standard. The 99 individuals completing the study ranged in age from 22 to 75 and were primarily white (83%) and female (94%). Seventeen were students in a MA level creative arts therapies program and 82 identified as practitioners. Overall practitioners scored lower than students on the individual subscales of the MAKSS-CE-R. Subscale scores tended to be in the low to medium (Awareness, 47.5%), and the medium to high (Knowledge, 60.6%; Skills, 67.7%) ranges, indicating respondents did not perceive themselves as highly competent. Implications for multicultural counseling competency training in the creative arts therapies include the need for incorporation of the multicultural counseling competencies across the curriculum and within supervision. Further research examining content of multicultural counseling competency courses in the creative arts therapies is recommended

Drama Therapy: Development of a hope based program for hospital implementation

This thesis examines the potential benefits of using drama as a therapeutic tool inadolescent cancer patients, diagnosed with acute myeloid leukemia (AML), for the construction of hope, grounded in curriculum theory. An examination of literature pertaining to drama therapy, hope, death, and curriculum theory, helped to create a drama therapy program intended to build hope for the patient admitted to hospital receiving chemotherapy for AML. Specifically,the study focused on the construction of a drama therapy program that combines theories and practices of drama therapy, grounded in curriculum expectations, which offers a complementary approach, alongside medical treatment, to ensure a patient’s physical, emotional, mental and spiritual well-being. The program included many therapeutic techniques from various therapists, all grounded in a sequencing structure taken from therapist Phil Jones. The objective of the program is to move from projection to sharing, and finally to transformation, identifying a new self, through the construction of hope. A seven unit structure was created using specific therapies, including: games, masks, improvisation, storying, playback theatre, monologues and collective ensemble. The program as a curriculum is reflected in the planning and sequencing of group activities which are designed to facilitate the development of hope among adolescent AML patients. The program has not been implemented for use, however the programs reflects an essential requirement in hospitals, encompassing the physical, emotional, mental and spiritual care of the patient

Teacher Perceptions of Self-Efficacy Before and After Engaging in Hevruta or Psychodrama-Based Online Workshops

Teacher self-efficacy is a construct that continues to be extensively researched. With the onset of the Coronavirus pandemic, the learning environment has shifted dramatically and has had an impact on Jewish educators’ sense of efficacy. This study examined the pre- and post-test scores for self-efficacy of Jewish educators who engaged in either an online psychodrama-based professional development workshop, a hevruta-based workshop, or an integrated session using both psychodrama and hevruta study. The participants were 28 Jewish educators from around the United States who were split into one of six groups. Two psychodrama-based groups and two integrated groups met online for 3-hours, and two hevruta-based groups met for 2-hours. Participants filled out a participant information form which provided demographic data and all participants filled out the TSES-short form at the start of their respective sessions. Only 22 participants filled out the post-TSES survey sent one week after the session. Data analysis consisted of ANOVA to compare the means of the three groups with the respect to the TSES subfactors of Student Engagement, Instructional Efficacy, and Classroom Management. Due to the small sample size, statistically significant results were not expected, and the data were examined through a lens of program evaluation. Of interest was the higher post-scores of the psychodrama-based groups and the lower scores for the hevruta-based groups. Expanding the sample size could be a way to rectify some of the study’s limitations. This study contributes to knowledge on the practice of psychodrama and expressive arts in an online format as it relates to teacher training and could help support the growth of expressive arts pedagogy in Jewish education, both as teacher professional development training and as a methodology for classroom teaching