Paolo J. Knill

Counselling, therapy, and coaching always work with the use of language. With art-oriented approaches, the limitations of language can be overcome. One of the most important works of expressive arts therapy, Lösungskunst is now available in English translation. The key concept of intermodality- the authors' term for oscillation between art-analog methods- combines with the primary focus on resources and strong emphasis on solutions to lay the groundwork for the method that is as vital now as it was originally. The importance of imagination, artistic and aesthetic experience to mental wellbeing is showcased, challenging the common focus on the cognitive and emotional facets of mental health. In-depth case studies and explanations illuminate the origins and use of the theoretical frameworks, helping experienced practitioners and trainees alike to engage with the fundamental methods and concepts of expressive arts therapy.

Expressive arts therapy is introduced in this exploration of the basic principles and foundations in using the arts in psychotherapy. A discussion of polyaesthetics, crystallization, intermodal theory, and the roles of expression and catharsis provide a theoretical foundation for understanding this creative approach to therapy. Asking the question "What happens when a client's art-making is received by the therapist?, the special considerations in the practice of expressive arts therapy are summarized, including relationship as art, play, structure and framing, low-skill and high-sensitivity work, and the phenomenon of the surprising experience that comes when a therapist and client work in a creative space together. This is a fundamental resource for all who consider the use of the arts in therapy.

What are the basic attitudes, values, and practices that are essential for effective work with the expressive arts? This book explores the answer to that question. The authors examine in depth the concepts of 'presence' - a way of 'being' - and 'process' - an open and trusting way of working - in the professional helping relationship and in the making of art. They introduce readers to the premise of the 'uniqueness of persons' that underpins these ideas, and look at how to realize them in practice. Diverse experiences are also shared of using the arts in group and individual work in a variety of settings, from team building and education to counseling, psychotherapy and supervision. This book is a comprehensive, foundational guide for all practitioners who use the expressive arts as a way of facilitating learning, growth, healing, and change, including expressive arts therapists and students, counsellors, coaches, and other helping professionals. With its clear structure and straight forward style, the book is appropriate also for beginners in these professional fields.

Beratung, Therapie, Coaching kommen nicht ohne Sprache aus. Was ausschließlich sprachlich vermittelt wird, hat jedoch die Tendenz, Prozesshaftes, Sinnlich-Vitales und Komplexes zu reduzieren, zu verallgemeinern und festzuschreiben. Dies trifft auf kënstlerisches Tun nicht zu - auch wenn es mit einfachsten Mitteln ausgeëbt wird. Das Autorenduo Herbert Eberhart und Paolo Knill hat ëber Jahrzehnte in Praxis und Ausbildung Erfahrungen mit dem Ineinandergreifen von Sprache und kënstlerischem Tun gesammelt. Entstanden ist ein Arbeitsansatz auf systemtheoretischer Grundlage, der kënstlerisches Tun als Dezentrierung vom Belastenden und Defizitären verbindet mit einer ressourcenorientierten Sprache und Haltung. Damit wird der Erkenntnis Rechnung getragen, dass produktive Neuausrichtung ein Zurëcktreten und Loslassen voraussetzt. Detaillierte Praxisbeispiele zeigen die Vielfalt konkreter Vorgehensweisen in verschiedenen Settings. Damit verbunden ist eine theoretische Aufarbeitung des Einsatzes von Sprache, Kunst und Spiel sowie die Darstellung der erkenntnistheoretischen und methodologischen Wurzeln. Es werden die Grenzen der Anwendbarkeit diskutiert wie auch die Frage der Vermittlung der notwendigen professionellen Kompetenzen." Damit ist das Buch gleichermaßen fër Lehrende wie Lernende und fër Theoretiker wie fër Praktiker eine wertvolle Quelle zur weiteren Entwicklung und deren Reflexion" (Jërgen Kriz).

Challenging traditional therapeutic approaches to the arts in which art is often secondary to a psychological model, Principles and Practice of Expressive Arts Therapy provides a coherent theoretical framework for an expressive arts therapy practice that places the process of art-making and the art work itself at the center. This book lays the philosophical foundation for a fresh interpretation of art-making and the therapeutic process by re-examining the concept of poiesis. The authors clarify the methodology and theory of practice with a focus on intermodal therapy, crystallization theory and polyaesthetics, and give guidance on the didactics of acquiring practical skills. Case studies of clinical practice and guidance on supervision and training in intermodal expressive arts therapy complement the theoretical chapters. Combining philosophy, theory and practice, this book is an essential text for students and academics in the field and for practicing expressive and specialized arts therapists.

Supervisors who wish to employ a more imaginative approach to their work will find concepts such as 'aesthetic distancing' and techniques derived from dramatherapy - the use of myths and stories, dramatic play and roles - particularly useful. Supervision and Dramatherapy explores the ways in which dramatherapy techniques and concepts can be applied to supervision, and looks at how supervisions are conducted within the field of dramatherapy. The contributors, leading dramatherapists from Britain, Continental Europe, the United States and Israel, have written on the historical background of supervion in dramatherapy, the process of dramatherapy supervision, the training of supervisor-dramatherapists, taking a dramatherapy approach to business supervisions, the supervision of crisis intervention teams and dramatherapy research. They offer insights into the relationships between supervisor, supervisee and client, and the dramatic roles that unfold during the supervision process. Drawing on their own experiences in clinical and non-clinical settings, and richly illustrating their accounts with examples from practice, they offer exciting and creative ways of effectively supervising dramatherapists and non-dramatherapists alike.