At the last weekend workshop we made “gymnast's sticks” from driftwood and branches we found in nature. Cut them to size to make handles, then decorated them with pieces of dyed cheese cloth, other fabric, and ribbons. We painted the materials, some embroidered it and carved “magic” into their sticks. Dancing with music, alone, in pairs and as a group with our sticks was not only fun, it also activated our mirror neutrons, created group synchronicity and connections.
Read MoreThis unique art therapy approach is recognized in Europe as a discipline in its own right. Over 500 Clay Field Therapists are currently practicing in numerous institutions. It is part of the curriculum in schools for disabled and disadvantaged children; it is widely used in women's shelters, refugee centers and to facilitate trauma healing.
The four workshops will look at the application of Clay Field Therapy
· Experientially
· Via videoed case histories
· Through understanding core aspects of its theoretical basis
Read MoreOver the next few months, I will share insights about a couple of the main shapes that characterize this approach but for now we shall take a more in-depth insights of the Arch. The structure of Guided Drawing is based on a number of primary shapes, which all have a universal, archetypal quality.
Read MoreImplicit memory is stored in the brainstem, which is the seat of our ancient survival system. This is the part of our brain that deals with trauma, however, it does this in a predominantly body-based way. The brainstem is strongly influenced by attraction and repulsion. It is being informed through repeated action patterns, such as learning to walk, to ride a bike, or to put a spoon into our mouth. Once we have mastered an action pattern, it becomes part of our implicit memory system and we do not ever think about it, unless someone pushes us into a pool of water when we never had learnt to swim, or an accident no longer allows us to move a limb. In the same way we do not think about breathing, making our heart beat or our muscles to contract and relax.
Read MoreThere are many different ways to approach the subject of the meaning and significance of colour. In art therapy sessions I encourage clients to honour colour in so far as to choose it according to the felt sense.
Read MoreMy recent experience at the International Art Therapy Practice/Research Inaugural Conference in London has highlighted how instrumental good quality art materials are for the outcomes of our work. When working with a focus on the body, Sensorimotor Art Therapy requires tables and chairs. Even the height of the table is important, ideally at or approximately 5 cm below the navel of the client. Chairs should be high enough that the knees are slightly lower than the pelvis, and the feet touch the ground. It is important that one sits comfortably upright while drawing, as it is an exercise of body awareness. A starting position that allows a relaxed upright body posture is important, which is not possible when crouched on the floor.
Read MoreIn February 2019 Prof Heinz Deuser came to Australia to offer a Masterclass on his Work at the Clay Field® at Claerwen Retreat. For over 20 years Prof Deuser was the course coordinator of the first BA in Art Therapy at the Kunsthochschule in Nürtingen, Germany. Today he is the director of the Institut für Gestaltbildung in Hinterzarten, Germany. Work at the Clay Field is a unique Sensorimotor Art Therapy modality Prof Deuser has developed over the past five decades.
Read MorePierre Janet, a pioneering French psychologist who lived over 100 years ago, developed a simple structure for trauma therapy that is still valid today. He defined three treatment phases: stabilization, trauma exploration and integration. If we look at Work at the Clay Field, stabilization is crucial at the beginning of every session in order to create a safe environment for the client.
Read MoreSoulCollage® is a process for accessing your intuition and creating an incredible deck of cards with deep personal meaning that will help you with life's questions and transitions.
Read MoreHaptic perception is the perception through touch. Our hands are superbly fine-tuned perceptual instruments. They play a far more important role for art therapy than has been acknowledged so far.
Read MoreThe Clay Field is a flat rectangular wooden box that holds 10 – 15 kg of clay. A bowl of water is supplied. This simple setting offers a symbolic “world” for the hands to explore. There will be no art work to be taken home. The hands enter the Clay Field and move in it; in their ability or inability to “handle” the material they tell the client's life story.
Read MoreOnce we have made contact and sufficient trust in the setting has been gained, I explain that it might be easier to imagine having a bodywork session rather than the idea of making art. If need be, I will take some time to explain that all emotions have a physiological expression. Fear might make your heart race, your palms sweaty and your stomach churn. Excitement wells up. Joy flows usually with ease.
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