DOCUMENT RESUME CG 023 940 AUTHOR Gladding, Samuel T .
DOCUMENT RESUMECG 023 940ED 340 984AUTHORTITLEINSTITUTIONREPORT NOPUB DATENOTEAVAILABLE FROMPUB TYPEEDRS PRICEDESCRIPTORSGladding, Samuel T.Counseling as an Art: The Creative Arts inCounseling.American Association for Counseling and Development,Alexandria, VA.ISBN-1-55620-091-992136p.American Association for Counseling and Development,5999 Stevenson Avenue, Alexandria, VA 22304 (Order#72033, 23.95).Reports - General (140)MF01 Plus Postage. PC Not Available from EDRS.Art Therapy; *Counseling Techniques; Counselor Role;*Creative Art; Dance Therapy; Drama; Humor; Imagery;Literature; Music Therapy; Play; Visual ArtsABSTRACTIn this book counseling approaches with a variety ofpopulations are examined using these cteative arts: music;dance/movement; imagery; visual arts; literature; drama; and play andhumor. It is noted that all of these arts are process-oriented,emotionally sensitive, socially directed, and awareness-focused.Chapter 1 discusses the history, rationale, and benefits of using thearts in counseling. Chapters 2-8 use a systematic format to describe:(1) the introductory background about particular art form; (2) thepremise behind using the art form discussed; (3) the general practiceof employing the art in counseling settings; (4) the unique ways thisart is utilized with special populations such as children,adolescents, adults, the elderly, groups, and families; and (5)art-related exercises. Chapter 9 discusses trends in counseling andcreative arts, focusing on research, education, identity, and theinterdisciplinary movement. Each chapter opens with a short poem byS. T. Gladding, and includes references. The book concludes thatcreative arts in counseling are currently undergoing a transitionthat promises to be long-term and prodlctive, with major effortsunderway on a grass-roots level to promote the recognition ofcreative arts therapies in a more positive way as a *************************************Reproductions supplied by EDRS are the best that can be madefrom the original ******************************
Counseling as an Art:TheCreative ArtsIn Counseling1111.1.11tTMIPININISamuel T. Gladding, PhD(ZU.S. DEPARTMENT OF EDUCATIONOffice of Educations! Research and ImprovementEDUCATIONAL RESOURCES INFORMATIONCENTER (ERIC)4 This document hes been reproduced aireceived from the person or organizationoriginating it(Ig"PERMISSION TO REPRODUCE THISMATERIAL IN MICROFICHE ONLYHAS BEEN GRANTED y10A1a,"A '11(111/141Minor changes have been made lo Improvereproduction QualityPoints of view or opinions stated in this document do not necessarily represent officialOERI Position or policyCDC-)gm COPY AVAILABLETO THE EDUCATIONAL RESOURCESINFORMATION CENTER (ERIC)."
Counseling as an Art:The Creative Arts inCounselingSamuel T. Gladding, PhDnAmerican Association forCounseling and Development5999 Stevenson Ave., Meson* le, VA 22304is
Copyright (0 1992 by the American Association for Counseling and DevelopmentAll rights reserved.American Association for (.:ounseling and Devel(pment5999 Stevenson AvenueAlexandria, VA 22 3040:ver desio hy Sarah Jane VaklezLibrary of Congress Cataloging-in-Publication DataGladding, Samuel T.Counseling as an art ; the creative arts tn counseling / Samuel T. Cdadding.Itwkides bibliographical references.ISBN 1.55620.091-9I. Counseling.BFO37.CR i52. AttsTherapeutic use.I.Title.199215ti'.3dc2091-1029C11'Printed in the Llnited States of America.1
'To Jim Comm, Robbin McInturff, Mariam Cos Per, Laurie Smith,and the other helping professionals at Adult and Child Developmental Specialists in Birmingham, Alabama, who taught me the art(4' good counseling and with whom I shared 6 wonderful years.
ContentsixxiPrefaceAcknowledgmentsxiiiAbout the AuthorCHAPTER 1History, Rationale, and Benefits of Using the Arts in CounselingHistory of the Arts in the Helping ProfessionsRationale for Using the Arts in CounselingAdvantages and Limitations of the Arts in CounselingSummary2679CHAPTER 2Music and Counseling13Premise of the Use of Music in CounselingPractice of the Use of Music in CounselingMusic in Counseling With Specific PopulationsMusic in Counseling With Other Creative Arts1516182223Summary24ExercisesCHAPTER3Dance and Movement in Counseling27Premise of the Use of Dance and Movement in CounselingPractice of the Use of Dance and Movement in CounselingDance and Movement in Counseling With Specific PopulationsDance and Movement in Counseling With Other Creative Arts28Summary2931353637Exercisesi)
viSAMI TI T. (.11 AoDINtCHAPTER 4Imagery and Counseling41Premise of the Use of Imagery in CounselingPractice of the Use of Imagery in CminselingImagery in Counseling With Specific PopuktionsImagery in Counseling With Other Creative ArtsSummaryExercises42444648505CHAPTER 5The Visual Arts and Counseling55Premise of the Use of Visual Arts in CounselingPmtice of the Use ot Visual Arts in CounselingVisual Arts in Counseling With Specific PopulationsVisual Arts in Counseling With Other Creative Arts565759SummaryExerc ises656667CHAPTER 6Literature and Counseling71Premise of the Use of Literature in CounselingPractice of the Use of Literature in CounselingLiterature in Counseling With Specific PopulationsLiterature in Counseling With Other Creative ArtsSummaryExercises727476808263CHAPTER 7Drama and CounselingPremise of the Use of Drama in CounselingPractice of the Use of Drama in CounselingDrama in Counseling With :.ipecitic PopulationsDrama in Counseling With Other Creative AitsSummaryExercises87899i949796
(.0)ItenbviiCHAPTER 8Play and Humor in Counseling101Premise of the Use of Play and Humor in CounselingPractice of the Use of Play and Humor in CounselingPlay and Huimr in Giunseling With Specific PopulationsPlay and I lumor in Counseling With Other Creative Arts102104107113114117SummaryExerc isesCHAPTER 9Trends in Counseling and the Creative Arts121ResearchEducationIdentityInterdisciplinary MovementSummary122123124125127
PrefaceCounseling is a creative process exemplified in such diverse activities as the formulationof theories, the timing of interventions, and the changes clients make. Effective counselorsare aware of the multidimensional qualities of the counseling process and utilize themeffectively in the uniqueness that is their own style. One aspect of counseling that promotesthe best within the helping context is the use of -he creative arts. By their very naturethese arts foster a different way of experiencing the world, and when employed in clinicalsituations, they help counselors and clients gain different perspectives on problems kindpossibilities.In this book, counseling approaches with a variety of populations are examined usingthe following creative arts:1. music;2. dance/movement;3. imagery;4. visual arts;5. literature;6. drama; and7. play and humor.All these arts are process-oriented, emotionally sensitive, socially directed, and awareness-tocused. They can be applied in numerous forms for working with clients mer thelife span. They enable people trom diverse backgrounds to develop in ways that arepersonally enhancing and enjoyable.Counselors, social workers, psychologists, psychiatric nurses, clergy, and psychiatristsin virtually any work setting from schools to mental health centers will find the contentsof these pages useful because of the pragmatic nature of the material covered. Chapters 2through 8, with their systematic format, will be especially helpful and will allow readersto learn 'a great deal in a relatively brief time and in a uniform manner. These chapterscontain the following:1. introductory background about the particular art form;2. the premise behind using the art form discussed;3. the general practice of employing the art in counseling settings;4. the unique ways this artisutilized with special populations such as children,adolescents, adults, the elderly, groups, and families;5. a summary;6. art-related exercises; and7. references.
XSAME 11 T. GLANINGIn addition, the first and last chapters of this hook contain information on the historyand rationale t)t using artistic methods in general and current trends in using the arts incounseling, respectively. Thus these chapters enable readers to gain a global view of thefield. Overall, practitioners will tind this book "user friendly," with the ideas disclosedhaving been tiekl-tested. By carefully reading this hook and applying its precepts, you asa counselor will become better informed and skilled, and more appreciative ot the art otcounseling.
AcknowledgmentsWriting a book is never a solo operation. Thus, I wish to acknowledge the individuakwho have helped me in this process. First, I am indebted to the AACD Media Conunitteefor accepting my proposal for this project. Dr. Richard L. Hayes (University of Georgia)gave me particularly good ideas on developing the text. Next, 1 want especially to thankElaine Pirrone, AACD Acquisitions and Development Editor, who gave ine excellentinput, feedback, and encouragement. She exemplifies the best within the counselingprofession, and she was always timely and informative in working with me. I am alsograteful for the input of reviewers Drs. Howard S. Rosenblatt (University of Hartford),Stephen G. Weinrach (Villanova University), and Jo Anna White (Georgia State University). They were honest and straighttOrward in their appraisal of the manuscript, andbecause of their constructive criticism, this work is tar better than it would hav,' been.Furthermore, I wish to thank my clients and colleagues over the years tor sharing somany practical ideas with inc. 1 would never have become interested in the field of thearts in counseling if those with whom I interacted had not shown me the usefulness ofsuch methods. Finally, as always, I am grateful to my most understanding and supportivewife, Claire. She has nourished me and this book with her suggestions, understanding,and dedication. I am truly a fortunate individual.LBEST COPY AVAILABLE
About the AuthorSamuel T. Cladding is Assistant to the Preskient and professor of counselor educationat Wake Forest University in Winston-Salem, North Carolina. His leadership in the fieldof counseling includes service as editor of theJournal for Specialists in Group Work, presidentof Chi Sigma Iota (counseling academic and professional honor society international),Vice President for Professional Developrient of the Association for Humanistic Educationand Development (AHEAD), and president of the Southern Association for CounselorEducation and Supervision (SAGES). He is the author of numerous publications includingtwo counseling texts, Counseling: A Comprehensive Profession and Group Work: A CounselingSpecialty (Merrill/Macmillan). He has also written and produced a videotape, Uses ofMetaphors and Poetry in Counseling (AACD).Cladding is an active workshop presenter on the use of the arts in counseling and hasworked as a professional counselor in the public arid private Uomains. He holds degreesfrom Wake Forest, Yale, and the University of North Carolina at Greensboro, and is aNational Certified Counselor (NCC) and a Certified Clinical Mental Health Counselor(CCMHC). He has served as a member of the Alabama Board of Examiners in Counselingas well. Cladding's previous academic appointments have been at Fairfield University(Connecticut) and the University of Alabama at Birmingham. He is married to the formerClaire Tillson and is the father of three childrenBenjamin, Nathaniel, and Timothy.
History,Rationale,and Benefitsof Using theArts inCounselingI am taken back bY your wordsTO 'V( na history and the nrystery (4 being humanin an all-too-otten n)hotk. workl.I hear your painand see the pictures y(ni paintso cautiously and vividlY.The world you draw is a kaleidoscopeever changing, ever new, encircling and fragile.Moving Ntst.the time and through the shadowsNou biok jor hope beNond the groos you knew as a child.I want to .SCIN: "I'm here. Trust the process.''But the artwork is your ownso I withdraw and watch NO14 to n-kwhile occasiomillN offering Non colorsand images of the possible.((i ladding, 1 990, p. 142)
2SANWEI. T. GrAnomiC()UNSEEING IS A PROFESSION with the common purpose of making human experienceconstructive, meaningful, kind enjoyable. It is like art in its emphasis on creativity, structure, uniqueness, enactment, and originality. This is a book on the uses of the "creativearts" in counseling. A creative art is an art t'orm, either v.,-bal or nonverbal, that sensitizesor facilitates the involvement of clients into counseling and enables them to grow anddevelop in functional and healthy ways. Cultivation ot the arts is enriching for counselorsas well because it sensitizes them to beauty and creates within them a greater awarenessof possibilities (Jourard St Landsman, 1980). Traditional arts range from those that areprimarily auditory and written (e.g., drama, music, poetry, and bibliotherapy) to thosethat are predominantly visual (e.g., drawing, painting, mime, dance, kind movement).These two categories overlap frequently, and in most cases two or more art forms arecombined in counseling, such as literature k.id vkual art, or dance and music.This book focuses on the contents and possibilities of specific arts. Thus, the timingand results (that is, the movement and outcome of counseling) will be addressed onlysecondarily. Just as becoming a painter takes talent, sensitivity, courage, kind years ofdevotion, a similar process is at work in counseling, where the actual practice differs froma knowledge of theory alone (Cavanagh, 1982). This book emphasizes the ingredientsneeded to enrich counseling through using the arts; the effective implementation of theseskills and processes, however, will come only with practice.History of the Arts in the Helping ProfessionsMany of the creative arts, such as poetry, music, and dance, have a long and distinguished history in the provision of mental health services. Various art torms have beenemployed since ancient times to help prevent and remediate internal and external strife.Some of their most notable contributions are chronicled here in segments of broad timeperiods.Ancient Cultures and the ArtsThe ancient Egyptians, as early as 500 R.c., encouniged the mentally ill "to pursueartistic interests kind attend concerts and dances" (Fleshman 61. Fryrear, 1981, p. 12). Theidea was that through such activities individuals could release feelings and be made wholeagain. Likewise, the ancient Greeks "employed drama and music as a means to help thedisturbed achieve catharsis, relieve themselves of pent up emotions, kind return to balancedlives" (Gladding, 1985, p. 2). The connection to and importance of music in the livesof the Greeks is symbolized in the Greek g(id Apollo, who was both the god of music andgod of medicine. "The Greek philosophers Plato and Aristotle often talked about theeffects of music and its importance to the health of the whole person" (Peters, 1987, p.25). They advocated the careful control of music to promote many moods from relaxationto excitement (Grout, 1973).The early Hebrews also used music and lyrical verse in helping to devekp integratedand healthy relationships. For example, for those who were emotionally volatile, such asKing Saul, music served a calming function. In addition, music was employed to remindpeople of the covenant rehtionship they shared with Yahwa (i.e., God) and each other.
I list, wv, Ratitnlide. and Bendits o:sing the Arts in Counschng3The psalms, for instance, played a maior part in worship and in creating a sense ofcommunity during religious rituals. At its peak the temple establishment employed 288full-time musicians (Peters, 1987).Similarly, the ancient Roman philosophers admonished the public to use the arts toachieve health and happiness. Lucretius, Cicero, and Seneca "all spoke in different waysof the healing power of 'discourse.' Poetry, Lucretius said, could disperse the 'terrors of(Coughlin, 1990, p. A6). A further belief among the Romans was that thethe soulstudy of humane letters, the first form of bibliotherapy, could alleviate pain. Finally, theRomans used the music of flutes and the sounds of cymbals to dispel melancholy thoughtsas well as to promote wellness (Peters, 1987).Evidently, healers of the ancient world thought that there was power in the arts. Theyencouraged their followers to experience these forms of creativity vigorously for theybelieved that such a procedure would have a significant impact on them. Therefore, it isnot surprising that in all the cultures mentioned in this text, an art was usually connectedwith every cure or therapeutic intervention.The Middle Ages, the Renaissance, and the ArtsIn the Middle Ages, magic and superstition replaced the arts in many quarters as theprimary way to treat the emotionally disturbed. Yet even in these "Dark Ages," thetraditions and actual works ot imisic, art, and literature were preserved in Europeanmonasteries and were considered in the Judeo-Christian tradition a relevant part of theprocess of healing (Coughlin, 1990; Flake, 1988). An interesting example of the use ofthe arts in the service of health was the treatment of the disorder known as "tarantism,"which arose in southern Italy during this medieval period and was believed to be causedby the bin: ot a tarantula. It was thought that the only cure of this disease was musicaccompanied by the performance ot a dance known as the "tarantella" (Coughlin, 1990) .In contrast to this period in European history was the more enlightened use of music,dance, painting, and literature as healing forces in African, Native American, and Asiancultures (Fleming, 198(,). For example, African music developed into a form with snang,driving rhythms and choral singing, which helped hind communities together. In addition,Asian, African, and Native American art in the form of paintings, jewelry, masks, andarchitecture flourished and imbued these cultures with a distinctiveness and freedomunknown in Europe at the time.During the European Renaissance, the use of the arts was emphasized in preventive andremedial mental health services just as it had been in ancient cultures such as the Greek.For example, in the 15th century "an Italian named Vittorino Lle Fe be emphasized poetry,dance, and games" in the education ot children and suggested the alternation of studyand play in working with chkren (Flake, 1988). in the 1600s, "writers such as RobertBurton, author of The Anatomx of Me kmcholy (1621), talked about the nile of the imagination in both psychological illness and health" (Coughlin, 1990, p. A91. One ot Burton'spremises was that individuals who were imaginative and thus creative were more likely tobe healthy. They could play and laugh and see their personal worlds as both comediesand tragedies. Therefore they could keep a better balanced and more realistic perspectiveon lite.The integration of health and the arts was exemplified in the work of 17th centuryphysicians, such as Tommaso del ( iarbo, who advised his patients that one way to avoidthe plague was to keep a positive mind-set and to listen to music (Peters, 1987) . I-lb belief
4SANit.i.i T. (11.APIII\tin the healing power of music was apparently common in the culture of the day, as reflectedin plays written by Shakespeare. Likewise, the poetry of meditation in I 7th century Englandemphasi:ed health and wholeness. Poets such as Robert Southwell, John Donne, andGeorge Herbert practiced methodical meditation in order to become more sensitive to theimages within themselves that they in turn expressed in verse (Mart:, I 962). Thus in thiscase, concentration led to art, which led to further exploration and the discovery ot theself.The Industrial Revolution to the Twentieth CenturyAt the beginning of the industrial revolution in the 18th century, the use ot the artsin the service of healing
I am taken back bY your words TO 'V( na history and the nrystery (4 being human in an all-too-otten n)hotk. workl. I hear your pain and see the pictures y(ni paint so cautiously and vividlY. The world you draw is a kaleidoscope ever changing, ever new, encircling and fragile. Moving Ntst.the time and through the shadows
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