National Art Education Association

Art Therapy: Myths and RealitiesAuthor(s): Frances E. AndersonSource: Art Education, Vol. 33, No. 4, Art Therapy and Art Education (Apr., 1980), pp. 18-21Published by: National Art Education AssociationStable URL: http://www.jstor.org/stable/3192420 .

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Art Therapy: Myths and Realities

"I Had Thirteen Children in This Class, and They Defied All the Methods and Rules of Behavior I Had Learned During My Teacher Preparation Courses."

Frances E. Anderson

Introduction

In hotel hallways during art conferences and college building

corridors between classes, a conver- sation such as the following may be overheard:

"When I finish my undergraduate degree, I'm not worried about what I'm going to do ... I'm planning on being an art therapist," Richard, an undergraduate art student majoring in painting, states en- thusiastically.

"What did you say? Art therapy? What kind of job is that?" queries Susan, an art edu- cation major. "That sounds really impres- sive ... I'm intrigued, maybe that is some- thing I should be thinking about doing. I am not especially excited about getting my teaching certificate in art-particularly when there are so few teaching jobs."

Richard: "I know what you mean-you see, therapy is the newest thing-there are lots of jobs, and you don't have to suf- fer through all those courses that are needed for teacher certification in art. Art therapy is all related to the medical field. I just know that anything related to medicine is first class . . . plus art therapy is a super way to combine my interests in art and psychology."

Susan: "Yes, that sounds really exciting-but doesn't something like therapy require very special education and training . . . particularly when you are dealing with someone else's emotional problems?"

Richard: "Maybe-I'm not sure. I do know

that Patterson-you remember him? Well, he graduated last year and got a job at the drug rehabilitation center in McCall. He is the art therapist there working with the clients. He just talked them into hiring him-and he had a straight art degree."

Susan: "Hmmm. I wonder if art therapy is an up and coming field. Maybe there is a demand for art therapists. I hope the art department will start offering courses in art therapy."

Richard: "I don't know ... I do know that some of the studio classes are really smaller this year than last. In fact, I heard that Mr. Binney and Ms. Smith will be look- ing for other teaching positions because their painting classes did not make this term."

This vignette may sound very famil- iar. It could go on and on, because similar encounters are taking place all over the country. There is a lot of talk about art therapy, these days, and there are a lot of misconceptions being perpetuated. A lot of questions are being raised as well. How does art therapy differ from art education? What training is necessary to become an art therapist? Is there a job market for art therapists? How does one get into art therapy?

In reality, the field of art therapy is not "new." Professionals, many of whom work in mental health facilities, have been practicing art therapy since the early 1930's. However, in the last decade several developments have drawn attention to this profession. The American Art Therapy Associa- tion (AATA) was founded in 1969 in Louisville, Kentucky. At that meeting a little more than a decade ago, about one hundred people assembled to form a national professional organiza- tion. By November 2, 1979, there were 1,324 members of this associa- tion. Included in this figure are 504 persons who have the additional title, Art Therapist Registered20. That is quite an increase of memberships over a brief ten year period.

Since some of the reasons for this rapid growth have been discussed in more detail elsewhere, I shall com-

ment only briefly on some of these factors9,10 11, 17,18. Public Law 94-142, with its mandate that special children are to be placed in the least restrictive educational alternative-that is, are to be "mainstreamed" when this is appropriate, has triggered a greater in- terest in special education8 and has created some new job opportunities in this general field17. Quite often one of the first places "mainstreaming" oc- curs is in the art room. While many art jobs are evaporating because of the troubled economy, those jobs that remain are complicated by "Main- streaming" and the accompanying frustrations. These frustrations have occurred in many instances because generally art teachers have just not been prepared to cope with children who have specific handicapping con- ditions6,12. One field to which these art teachers are turning for help is art therapy9,18.

Some Personal Reflections Essentially that is how much of my

own interest in art therapy began. While there was no Public Law 94-142 in operation in "04" when I began my first public school teaching position in a small Indiana town, I had more than my share of frustrations. That position included a wide range of art classes (grades one to twelve, in fact, in three schools) and included one group of "very special children." This group ranged in age from six years to twelve years and all had learning problems as well as behavior disorders and other unlabelled handicaps. I had thirteen children in this class, and they defied all the methods and rules of behavior I had learned during my teacher prepa- ration courses. The entire group had an average attention span of about three minutes. At least once every week one of my students would go berserk and run wildly around the room. I had to chase and catch him at which time he would go limp in my arms, and I was forced to carry him up a long flight of steps to his teacher who was more often than not in tears herself because of the situation. I had no aide and no one to call upon for help. I did have a monitor system

Art Education April 1980 18

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worked out with the rest of the class so I could leave them, but, upon re- flection, it was miraculous that noth- ing disastrous occurred and no stu- dent was hurt.

Was there a better way? Believing that there had to be, I began to read about the psychology of children with handicapping conditions and came across art therapy citations. I was in- trigued, and attempted to find a train- ing program, but was not successful. I even investigated activity therapy and discussed this field with staff at nearby mental hospitals. I soon con- cluded that activity therapy was not art therapy. I felt I was turning a lot of informational corners and finding my- self on a dead end course. So, I put aside my search for information and for a training program in art therapy and embarked on doctoral studies in art education.

At the end of my tenure as a doc- toral student, I was able to do some in-depth study of art therapy. As a consequence of this investigation, I was made aware of the plans being made to form a national art therapy association. I was able to attend and to be an active part of that founding meeting of the AATA which was held in July 1969, on the University of Louisville campus. Later, when I began my tenure at Illinois State Uni- versity, I was able to create opportu- nities for art therapy in our laboratory school for handicapped children (Il- linois State University has two special schools: one for "typical children" and one for very special children. Both of these educational units are housed in the same building enabling easy "Mainstreaming" when appro- priate.) I worked in both a therapeutic and educational context with the hear- ing impaired, visually impaired, emo- tionally disturbed, and orthopedically handicapped children in this facility. Such work necessitated a large self- educational effort which has included extra coursework, outside reading, and consulting with other profession- als. My involvement with children with handicapping conditions has ex- tended to include a residential school for the developmentally disabled child. This program was initiated with the help of a very committed group of university students. For two years, two evenings a week have been de- voted to work with a selected group of residents whom the institutional staff felt could benefit most from art. In this instance, as in all other similar in- stances, I feel I have learned far more from these very special children than

they from me. As the reader can deduce from

these personal reflections, I-like many others -came into the art therapy field through the "back door." I suppose we were very much like pioneers. We were a small band of professionals who had a persistent hunger and desire for information about art therapy, and who ferreted out the necessary information about art therapy using a variety of methods. We never accepted defeat and did succeed in creating situations in which art therapy could be utilized. This early band did not have the lux- ury of specific training programs in art therapy-nor could we interrupt our careers for such training, even if it had been accessible. The situation has in- deed changed.

Art Therapy Training One of the most rapid developments

in higher education has been training programs in art therapy. Ten years ago there was, to my knowledge, no more than one degree program in art therapy being offered in an institution of higher learning. Now, according to the latest report of the AATA's Edu- cation Committee5, there are 28 graduate training programs, 8 graduate certificate programs, 11 clin- ical training programs, 5 special train- ing programs, and 42 undergraduate training programs. Additionally, 28 institutions of higher learning are of- fering courses in art therapy or a re- lated subject. There are also 4 over- seas graduate training programs and one overseas institution offering courses. While this listing is not inclu- sive (it only reflects those institutions who have responded to queries made by the AATA), it does reflect a tre- mendous growth of courses and de- gree programs in the course of a mere decade. (Editor's note: For updated figures on educational training, infor- mation may be obtained from the business office of the American Art Therapy Association).

Additionally, it must be noted that this listing of training programs and courses is not indicative of any sort of "'approved listing" by the AATA. The AATA is just now beginning to take steps to evaluate and formulate an ap- proved listing of institutions offering graduate degrees in art therapy5.

Currently the recognized training level for entry into the field is at the Masters degree point2. There is a growing trend toward additional train- ing15, and several institutions are of- fering extensive summer programs for

art therapy practitioners. In 1976, Art Psychotherapy (which, along with the American Journal of Art Therapy are the only professional journals in the United States devoted primarily to publishing articles on art therapy) car- ried an announcement of a "doctoral program in Creative Arts in Therapy" being offered in Lugano, Switzer- land13. Additionally, at the 1979 AATA conference in Washington, D.C., a session was devoted to a dis- cussion of doctoral programs and their implications for the field of art therapy. It should be underscored that completion of a degree program in art therapy does not guarantee that an in- dividual will find a job. Becoming reg- istered as an art therapist is a separate issue.

Registration as an Art Therapist To become registered as an art

therapist one has to have been an ac- tive member of the AATA for six months prior to making application. The applicant must accumulate a specified number of what the AATA calls Professional Quality Points. Points are awarded for education and experience.

To become registered, the indi- vidual must have accumulated 1,000 paid hours with clients in an art therapy work situation and 300 hours supervised by a Registered Art Therapist (if the individual has been in an art therapy training program, he or she will probably have over 300 supervised hours). All of this informa- tion must be verified by a Registered Art Therapist'. For more information the reader is referred to the article in this issue written by Dr. Shaun McNiff, chairperson of the Standards Committee of AATA. It should also be noted that the AATA periodically updates and revises its standards, and the reader may wish to write directly to the association for its most up-to- date version'.

Job Market Is there a job market for art

therapists? That is one of the most frequently asked questions and one of the most difficult to answer. It is dif- ficult to gain a full grasp of the job situation throughout the country. Most art therapy students are very zealous and have been able to talk themselves into jobs. Indeed, that is exactly what many must do. There will be very few employers searching for art therapists. On the other side of the coin, there is a much wider scope of job opportunities open to the art

Art Education April 1980 19

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therapist in institutions such as: pris- ons, residential schools for special children, geriatric facilities, rehabilita- tion centers, and, of course, mental hospitals and community mental health centers14' 15. The AATA has been very energetic in lobbying for a change in the Civil Service job clas- sification so that the job category "Art Therapist" will be included. As of March 1980, the new listing ("Art Therapist") will be included. This list- ing change represents a major break- through in the AATA's efforts to ex- pand the job market for art therapists5.

Defining Art Therapy Finally, there is a whole issue of de-

fining art therapy. Since the field is dynamic and not static, it would be not only presumptuous but also al- most an impossibility to provide a very specific definition. In fact, at the 1976 Seventh AATA conference a plenary session was devoted to "Art Therapy: An Exploration of Defini- tions." No clear consensus resulted from this discussion7. However, some information can be provided to help in shedding some light on a definition. In the preface to the 1975-76 Directory of the American Art Therapy Associa- tion, two major approaches to art therapy are described:

The use of art as a vehicle for psychotherapy and the use of art as therapy. Art as therapy implies that the creative process can be a means both of reconciling conflicts and of fostering self- awareness and personal growth. When art is used as a vehicle for psychotherapy, both the product and the associative ref- erences may be used in an effort to help the individual find a compatible relation- ship between his inner and outer worlds3.

The American Art Therapy Associ- ation distributes an information packet as well as other types of infor- mation, including the proceedings of its national conferences (which began with the 1976 conference). Requests for information as well as these mate- rials may be made by writing to the association's national office in Balti- more (The AATA Business Office, 428 East Preston Street, Baltimore, Maryland 21202. A flyer distributed by AATA provides some relevant in- formation about the role of the art therapist and the way in which art therapy related to art education:

Art therapy may be an adjunctive, parallel or primary treatment modality in the field of

mental health. For example, it is used in private psychiatric facilities, community mental health centers and schools for emotionally disturbed and brain-damaged children and in special education facilities in public schools. The population to whom the art therapist may provide a service in- cludes adults and children with varying degrees of functional and organic pathol- ogy; normal children and adults in schools and growth centers; drug addicts, the elderly and prisoners. Its value as a pre- dictor for behavior problems and useful- ness for crisis intervention has been doc- umented by psychiatrists, psychologists, and art therapists working in private and public school systems.

Art therapy does overlap with art educa- tion. However, in art therapy the emphasis is never on skills for their own sake or skills used for purposes extraneous to expres- sion. When the use of art is closely as- sociated with verbal psychotherapy, too much emphasis on technique may inter- fere with the directness on non-verbal communications. In art as therapy, art techniques are important. They are used to facilitate personal expression.

Although there is not unanimous agreement about the qualifications for art therapists, many people believe that ex- perience with art (as practitioner) and knowledge of materials and techniques of drawing, painting, and ceramics as well as sculpture are essential. Some knowl- edge from the field of art education is likely to prove useful; also knowledge from the fields of clinical psychology, projective techniques, psychoanalysis and other systems of psychotherapy are likewise useful4.

Four years ago some of the defini- tion issues as they relate to art educa- tion and art therapy were discussed and charted. For this more in-depth discussion, I refer the reader to these articles which have been published elsewhere7 9, 18.

Test the Water Over the years I have had numerous

inquiries about art therapy from stu- dents who wish to get into the field. I tell these interested students that I feel it is helpful to have some expo- sure to the kinds of clientele who can benefit from art therapy. I urge inter- ested persons to volunteer at a local agency, such as a drug rehabilitation center, a special school for mentally handicapped children, or a nursing home. Most communities have sev- eral of these kinds of facilities. By all means, "test the water." Many per- sons' initial "zeal" has cooled after such encounters. However, those

who survive this "baptism" are the prime candidates for becoming seri- ous art therapists. If someone is con- sidering becoming an art therapist, it will help to read about art therapy and to take some psychology courses. Additionally, to become an art therapist the individual must not only have his or her own act together, he or she must also have some basic art abil- ities (art therapists also espouse the artist as a model), and he or she must also have the intellectual rigor to be admitted to what is often a very com- petitive training program-and, of course, the ability to complete a post-baccalaureate training program. (Several years ago a colleague who di- rected one of the oldest art therapy training programs reported three stu- dents who had straight "A" averages as undergraduates were rejected be- cause space was so limited in their training programs).

Conclusion As a career alternative, art therapy

is viable. I predict that we will be hearing more and more about this emerging profession. Currently, I per- ceive the fields of art education and art therapy as being mutually benefi- cial, not only in terms of application but also in terms of research. Each field has something unique to offer. In fact, I predict a time very soon when a course in art therapy and/or art for special education will be a component of the teacher preparation curriculum in art education. Moreover, I think the time is fast approaching when teacher certification in art and certifi- cation as a Registered Art Therapist would be a very desirable combina- tion of professional credentials. (Editor's note: As of the present time, art therapy/art for the special child coursework is an established require- ment for teacher certification in a number of university teacher training programs.)

Frances E. Anderson, Ed.D., ATR, is professor of art, Illinois State Univer- sity, Normal, Illinois.

References

1 American Art Therapy Associa- tion, Adopted Revised Standards and Procedures for Registration, Ameri- can Art Therapy Association, Inc., 428 East Preston Street, Baltimore, Md. 21202, November 1979.

2 American Art Therapy Associa- tion, Guidelines for Art Therapy

Art Education April 1980 20

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Training, revised, April 1979, Ameri- can Art Therapy Association, Inc., 428 East Preston Street, Baltimore, Md. 21202.

3 American Art Therapy Associa- tion, Directory, American Art Therapy Association, Inc., 428 East Preston Street, Baltimore, Md. 21202.

4 American Art Therapy Associa- tion, Information Packet, American Art Therapy Association, Inc., 428 East Preston Street, Baltimore, Md. 21201.

5 American Art Therapy Associa- tion, Tenth Annual Conference, Washington, D.C., Business Meeting, November 2, 1979.

6 Francis E. Anderson, Art for All the Children: A Creative Sourcebook for the Impaired Child, Springfield, Il- linois: Charles C Thomas, 1978.

7 Frances E. Anderson, "Art Therapy: An Exploration of Defini- tions; Art Therapy and Art Educa- tion," in The Proceedings of the Seventh Annual Conference of the American Art Therapy Association, Baltimore, Md., October 28-31, 1976; Creativity and the Art Therapist's Identity, ed. by R. H. Shoemaker and S. E. Gonick-Barris, American Art Therapy Association, 1977.

8 Frances E. Anderson, Jose D. Colchado, and Pat McAnally, Art for the Handicapped, Illinois State Uni- versity, August 1979.

9 Frances E. Anderson and Sandra Packard, "Opening Pandora's Box: Issues in Definition-Art Education/Art Therapy," Viewpoints, 1976, Vol. 52, No. 3, pp. 31-46.

10 Frances E. Anderson, "The Changing Role of the Art Education Professor," Art Education, 1976, Vol. 29, No. 4, pp. 13-15.

11 Frances E. Anderson and Helen Landgarten, "Art in Mental Health: Survey on the Utilization of Art Therapy," Studies in Art Education, 1973-1974, Vol. 15, No. 3, pp. 44-48.

12 Art for the Handicapped-Final Report: Bureau of Education for the Handicapped, Grant Number: G007801463, Project Number: 451AH80660, Principal Investigators: Frances E. Anderson and Pat McAn- ally, July 1979.

13 Art Psychotherapy: An Interna- tional Journal, 1976, Vol. 3, No. 314, p. 222.

14 Linda Gantt, "Jobs-Top Prior-

Training, revised, April 1979, Ameri- can Art Therapy Association, Inc., 428 East Preston Street, Baltimore, Md. 21202.

3 American Art Therapy Associa- tion, Directory, American Art Therapy Association, Inc., 428 East Preston Street, Baltimore, Md. 21202.

4 American Art Therapy Associa- tion, Information Packet, American Art Therapy Association, Inc., 428 East Preston Street, Baltimore, Md. 21201.

5 American Art Therapy Associa- tion, Tenth Annual Conference, Washington, D.C., Business Meeting, November 2, 1979.

6 Francis E. Anderson, Art for All the Children: A Creative Sourcebook for the Impaired Child, Springfield, Il- linois: Charles C Thomas, 1978.

7 Frances E. Anderson, "Art Therapy: An Exploration of Defini- tions; Art Therapy and Art Educa- tion," in The Proceedings of the Seventh Annual Conference of the American Art Therapy Association, Baltimore, Md., October 28-31, 1976; Creativity and the Art Therapist's Identity, ed. by R. H. Shoemaker and S. E. Gonick-Barris, American Art Therapy Association, 1977.

8 Frances E. Anderson, Jose D. Colchado, and Pat McAnally, Art for the Handicapped, Illinois State Uni- versity, August 1979.

9 Frances E. Anderson and Sandra Packard, "Opening Pandora's Box: Issues in Definition-Art Education/Art Therapy," Viewpoints, 1976, Vol. 52, No. 3, pp. 31-46.

10 Frances E. Anderson, "The Changing Role of the Art Education Professor," Art Education, 1976, Vol. 29, No. 4, pp. 13-15.

11 Frances E. Anderson and Helen Landgarten, "Art in Mental Health: Survey on the Utilization of Art Therapy," Studies in Art Education, 1973-1974, Vol. 15, No. 3, pp. 44-48.

12 Art for the Handicapped-Final Report: Bureau of Education for the Handicapped, Grant Number: G007801463, Project Number: 451AH80660, Principal Investigators: Frances E. Anderson and Pat McAn- ally, July 1979.

13 Art Psychotherapy: An Interna- tional Journal, 1976, Vol. 3, No. 314, p. 222.

14 Linda Gantt, "Jobs-Top Prior- ity," American Art Therapy Associa- tion Newsletter, October 1975, Vol. V, No. 3, p. 1.

15 Linda Gantt, "Where Do We Go From Here?" American Art Therapy Association Newsletter, January

ity," American Art Therapy Associa- tion Newsletter, October 1975, Vol. V, No. 3, p. 1.

15 Linda Gantt, "Where Do We Go From Here?" American Art Therapy Association Newsletter, January

1977, Vol. V, No. 6, p. 4. 16 Susan Gonick-Barris, "Readers

Forum: The Quality of Education," American Journal of Art Therapy, 1976, Vol 16, No. 1, p. 10.

17 Sandra Packard, "Art for the Exceptional Child: Rapidly Expand- ing Job Opportunities," Art Psychotherapy, 1976, Vol. 3, No. 1, pp. 81-85.

18 Sandra Packard and Frances Anderson, "A Shared Identity Crisis: Art Education and Art Therapy," American Journal of Art Therapy, 1976, Vol. 16, No. 1, pp. 21-32.

19 Public Law 92-424, 1972; Public Law 93-516, 1974; Public Law 94- 142, 1975.

20 Laurie Wilson, Membership Report, American Art Therapy Asso- ciation Newsletter, October 1979.

This article is a revision and expan- sion of an earlier article, "Art Therapy: Fantasy, Fiction and Real- ity," New York State Art Teachers Bulletin, Vol. 28, No. 3, May 1978.

1977, Vol. V, No. 6, p. 4. 16 Susan Gonick-Barris, "Readers

Forum: The Quality of Education," American Journal of Art Therapy, 1976, Vol 16, No. 1, p. 10.

17 Sandra Packard, "Art for the Exceptional Child: Rapidly Expand- ing Job Opportunities," Art Psychotherapy, 1976, Vol. 3, No. 1, pp. 81-85.

18 Sandra Packard and Frances Anderson, "A Shared Identity Crisis: Art Education and Art Therapy," American Journal of Art Therapy, 1976, Vol. 16, No. 1, pp. 21-32.

19 Public Law 92-424, 1972; Public Law 93-516, 1974; Public Law 94- 142, 1975.

20 Laurie Wilson, Membership Report, American Art Therapy Asso- ciation Newsletter, October 1979.

This article is a revision and expan- sion of an earlier article, "Art Therapy: Fantasy, Fiction and Real- ity," New York State Art Teachers Bulletin, Vol. 28, No. 3, May 1978.

COMMENTARY Myra Levick

The myths and realities of art therapy are stated in Frances An-

derson's article in a straightforward manner, and should bring to the read- er's attention those special areas of concern related to a relatively new professional field of endeavor. In the concluding statements, Anderson refers to the mutual benefits of art education and art therapy, with spe- cific reference to research, which needs to be pursued with diligence-espe- cially with a focus on areas to be re- searched, clearly defined methodol- ogy, and a dissemination of outcomes. Additionally, a prediction is made re- garding coursework in art therapy (or art for special education) that would be included as a component of teacher preparation curricula in art education, and that art teacher certification and art therapy registration might be a de- sirable package of credentials. These are intriguing thoughts, and although some of the predictions are already in existence (e.g., some coursework in art therapy is being required for the student in art education in certain uni- versity programs), these are areas for some concentrated thinking by both the art educator and the art therapist. I do support the notion of mutually benefitting endeavors, based on sound

COMMENTARY Myra Levick

The myths and realities of art therapy are stated in Frances An-

derson's article in a straightforward manner, and should bring to the read- er's attention those special areas of concern related to a relatively new professional field of endeavor. In the concluding statements, Anderson refers to the mutual benefits of art education and art therapy, with spe- cific reference to research, which needs to be pursued with diligence-espe- cially with a focus on areas to be re- searched, clearly defined methodol- ogy, and a dissemination of outcomes. Additionally, a prediction is made re- garding coursework in art therapy (or art for special education) that would be included as a component of teacher preparation curricula in art education, and that art teacher certification and art therapy registration might be a de- sirable package of credentials. These are intriguing thoughts, and although some of the predictions are already in existence (e.g., some coursework in art therapy is being required for the student in art education in certain uni- versity programs), these are areas for some concentrated thinking by both the art educator and the art therapist. I do support the notion of mutually benefitting endeavors, based on sound

theoretical and philosophical con- structs, and I would encourage pro- fessional consideration of the points raised in the article.

Myra Levick, M.Ed., ATR, HLM, is professor and director, Creative Arts in Therapy Master's Program, Hahnemann Medical College and Hospital, Philadelphia, Pennsylvania; founding member and first president, the American Art Therapy Associa- tion; and chairperson, Education Committee, the American Art Therapy Association.

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theoretical and philosophical con- structs, and I would encourage pro- fessional consideration of the points raised in the article.

Myra Levick, M.Ed., ATR, HLM, is professor and director, Creative Arts in Therapy Master's Program, Hahnemann Medical College and Hospital, Philadelphia, Pennsylvania; founding member and first president, the American Art Therapy Associa- tion; and chairperson, Education Committee, the American Art Therapy Association.

.-New!!INewll/New!!Newi!!NewI!!New!l

Free Catalog Our new 1980 Art Catalog is the ,

E best ever, 250 pages - with new products, generous discounts

E and always guaranteed service. S E Write for your free catalog.

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MATERIALS ff.. Box 27 Urbana, Illinois 61801 i

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Art Education April 1980 Art Education April 1980 21 21

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