National Art Education Association

Commentary: Art Therapy Registration and Standards of PracticeAuthor(s): Sandra L. KaginSource: Art Education, Vol. 33, No. 4, Art Therapy and Art Education (Apr., 1980), pp. 30-31Published by: National Art Education AssociationStable URL: http://www.jstor.org/stable/3192427 .

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the people who begin work as art therapists are graduates of training programs. Undergraduate education in art therapy is supported by the As- sociation, but as preparatory to graduate level training. It is not neces- sary to have an undergraduate degree in art therapy to be admitted to a graduate program.

At the present time the tasks before the Standards Committee of the AATA are to: 1) continue the open and flexible approach to registration which allows people to enter the pro- fession from varied experiential back- grounds, especially in those regions of the United States and other countries where the field is just beginning to grow; 2) to maintain strong support for graduate level training as the standard for entry into the field; and 3) to begin to look more toward deter- mining what the competencies of the art therapist are and how they can be most effectively evaluated. The pres- ent Standards Committee has initiated a first stage of competency evaluation which assesses the applicant's strengths and weaknesses in many dif- ferent areas of art therapy theory and practice, i.e. diagnostic skills, sen- sitivity to the communication type and needs of the client, self- understanding, artistic skill, etc. Competency evaluation procedures involving self-assessment and a criti- cal review of the applicant's work by a registered art therapist, together with letters of reference, are necessary. Applicants are being asked for the first time to submit portfolios of their art, because the Association feels that is essential to support the art therapist's identity as an artist who has something unique to offer to the mental health field.

The Association's Standards Com- mittee also has a peer review system for practicing art therapists. The Board was established to provide a mechanism for handling complaints and grievances filled against members of the Association. The standard used for evaluation is the Association's Professional Code of Ethics. The Peer Standards Review Board has a chair- person and regional representatives from throughout the United States, with Canada and other foreign coun- tries being represented.

The Standards Committee review

the people who begin work as art therapists are graduates of training programs. Undergraduate education in art therapy is supported by the As- sociation, but as preparatory to graduate level training. It is not neces- sary to have an undergraduate degree in art therapy to be admitted to a graduate program.

At the present time the tasks before the Standards Committee of the AATA are to: 1) continue the open and flexible approach to registration which allows people to enter the pro- fession from varied experiential back- grounds, especially in those regions of the United States and other countries where the field is just beginning to grow; 2) to maintain strong support for graduate level training as the standard for entry into the field; and 3) to begin to look more toward deter- mining what the competencies of the art therapist are and how they can be most effectively evaluated. The pres- ent Standards Committee has initiated a first stage of competency evaluation which assesses the applicant's strengths and weaknesses in many dif- ferent areas of art therapy theory and practice, i.e. diagnostic skills, sen- sitivity to the communication type and needs of the client, self- understanding, artistic skill, etc. Competency evaluation procedures involving self-assessment and a criti- cal review of the applicant's work by a registered art therapist, together with letters of reference, are necessary. Applicants are being asked for the first time to submit portfolios of their art, because the Association feels that is essential to support the art therapist's identity as an artist who has something unique to offer to the mental health field.

The Association's Standards Com- mittee also has a peer review system for practicing art therapists. The Board was established to provide a mechanism for handling complaints and grievances filled against members of the Association. The standard used for evaluation is the Association's Professional Code of Ethics. The Peer Standards Review Board has a chair- person and regional representatives from throughout the United States, with Canada and other foreign coun- tries being represented.

The Standards Committee review procedure for processing applications for registration has a similar regional orientation. There are nine regional qualifying board chairpersons throughout the United States. Each chairperson has a local committee. An

procedure for processing applications for registration has a similar regional orientation. There are nine regional qualifying board chairpersons throughout the United States. Each chairperson has a local committee. An

30 30

applicant's first contact for the pur- pose of receiving guidance and filling an application is with the regional board. Typicallly, the regional board does the bulk of the work in process- ing an application and seeing that it is complete and in order. The regional board either supports the application or confers with the applicant as to ad- ditional criteria that have to be met. Approved applications and problema- tic cases are then sent along to a Divi- sion Head, with the nine regional boards being divided into three re- gions (East, Central, and West). The Division Head is a source of appeal and advisement between the local boards and the national chairperson of the Standards Committee, who ulti- mately receives and must approve all art therapy registrations. This system involving three levels of review has helppd to streamline an expanding standards operational structure while giving applicants a more complete and impartial review.

For more detailed information on standards for registration, the Associ- ation's Code of Ethics, registration applications, and competency evalua- tion forms, write directly to the American Art Therapy Association, 428 East Preston Street, Baltimore, Maryland 21202.

Shaun McNiff is dean, expressive arts therapy, Lesley College Graduate School, Cambridge, Massachusetts, and chairperson, Professional Stan- dards Committee, the American Art Therapy Association.

applicant's first contact for the pur- pose of receiving guidance and filling an application is with the regional board. Typicallly, the regional board does the bulk of the work in process- ing an application and seeing that it is complete and in order. The regional board either supports the application or confers with the applicant as to ad- ditional criteria that have to be met. Approved applications and problema- tic cases are then sent along to a Divi- sion Head, with the nine regional boards being divided into three re- gions (East, Central, and West). The Division Head is a source of appeal and advisement between the local boards and the national chairperson of the Standards Committee, who ulti- mately receives and must approve all art therapy registrations. This system involving three levels of review has helppd to streamline an expanding standards operational structure while giving applicants a more complete and impartial review.

For more detailed information on standards for registration, the Associ- ation's Code of Ethics, registration applications, and competency evalua- tion forms, write directly to the American Art Therapy Association, 428 East Preston Street, Baltimore, Maryland 21202.

Shaun McNiff is dean, expressive arts therapy, Lesley College Graduate School, Cambridge, Massachusetts, and chairperson, Professional Stan- dards Committee, the American Art Therapy Association.

COMMENTARY Sandra L. Kagin

Let us look at registration with the American Art Therapy Asso-

ciation from an historical perspective. Having served the association in the capacity of chairperson of the Stand- ards Committee and author of the original procedures for registration, I well remember the fantastic goals we had all set for ourselves and all other art therapists then and for the future with respect to competencies and uni- form measures. Everyone registered was to be super-person art therapist and literally know everything there was to know about the field. Since the field was not bounded by theoretical borders (a situation which continues to persist), this task was somewhat

Art Education April 1980

COMMENTARY Sandra L. Kagin

Let us look at registration with the American Art Therapy Asso-

ciation from an historical perspective. Having served the association in the capacity of chairperson of the Stand- ards Committee and author of the original procedures for registration, I well remember the fantastic goals we had all set for ourselves and all other art therapists then and for the future with respect to competencies and uni- form measures. Everyone registered was to be super-person art therapist and literally know everything there was to know about the field. Since the field was not bounded by theoretical borders (a situation which continues to persist), this task was somewhat

Art Education April 1980

overwhelming. Oh, what philosophies were spun at two and three o'clock in the morning as my committee and then the Executive Board of the AATA labored over definitions, terms, quantitative and qualitative judgments. Looking back, I am amazed and gratified that it came out so well.

I think one reason for the longevity of some of our early decisions was be- cause we involved so many people in the process that we began to see pat- terns of response emerging which could be translated into what became professional quality credits (PQC's) and a precedent of keeping alternatives viable for professional entry into art therapy practice. Both of these prac- tices, involving many others and al- lowing alternatives, are important to the art educators. Shaun's article points out that his fictitious Dr. Adams was able to re-direct her skills and supplement her knowledge of the art-expressive process sufficiently to achieve registration status with the American Art Therapy Association. Other "Dr. Adams" do have the op- tion of returning to school (and there are many now from which to choose) and securing the necessary education. I would suggest also that those of you who desire continued education in art therapy, as a group, encourage the schools offering degrees in art therapy to develop special studies and cur- ricula for your needs. I would further suggest to the schools to look at the rising interest on the part of the teach- ing population as well as the educa- tional needs pursuant to the Public Law 94.142 which essentially man- dates free public education to all handicapped children. Here is an area where art education and art therapy dovetail beautifully and in ground fer- tile for integration of disciplines. I am certain that the professional organiza- tions of both art education and art therapy have information and a will- ingness to help that is available to any interested professional. Since both groups are comprised of creative people, if the mechanisms are not yet developed, they will be.

Returning to the beginnings of regis- tration, I recall that we discussed dif- ferent kinds of registration status, i.e., more toward specialization. The con- cept of specialized registration would

overwhelming. Oh, what philosophies were spun at two and three o'clock in the morning as my committee and then the Executive Board of the AATA labored over definitions, terms, quantitative and qualitative judgments. Looking back, I am amazed and gratified that it came out so well.

I think one reason for the longevity of some of our early decisions was be- cause we involved so many people in the process that we began to see pat- terns of response emerging which could be translated into what became professional quality credits (PQC's) and a precedent of keeping alternatives viable for professional entry into art therapy practice. Both of these prac- tices, involving many others and al- lowing alternatives, are important to the art educators. Shaun's article points out that his fictitious Dr. Adams was able to re-direct her skills and supplement her knowledge of the art-expressive process sufficiently to achieve registration status with the American Art Therapy Association. Other "Dr. Adams" do have the op- tion of returning to school (and there are many now from which to choose) and securing the necessary education. I would suggest also that those of you who desire continued education in art therapy, as a group, encourage the schools offering degrees in art therapy to develop special studies and cur- ricula for your needs. I would further suggest to the schools to look at the rising interest on the part of the teach- ing population as well as the educa- tional needs pursuant to the Public Law 94.142 which essentially man- dates free public education to all handicapped children. Here is an area where art education and art therapy dovetail beautifully and in ground fer- tile for integration of disciplines. I am certain that the professional organiza- tions of both art education and art therapy have information and a will- ingness to help that is available to any interested professional. Since both groups are comprised of creative people, if the mechanisms are not yet developed, they will be.

Returning to the beginnings of regis- tration, I recall that we discussed dif- ferent kinds of registration status, i.e., more toward specialization. The con- cept of specialized registration would require specialized types of education and of course, practice. At the time this was proposed, we as a profession,

require specialized types of education and of course, practice. At the time this was proposed, we as a profession,

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and certainly as an organization, were not ready. Perhaps the time has come to re-investigate this possibility. I can visualize a situation where our Dr. Adams had a specific purpose in mind for her art therapy education: let us say to supplement her skills with handicapped children. Perhaps the re- quirements for her registration should then be different from another Dr. Adams who desired to become an art psychotherapist working with neu- rotic adults. If the Standards people then coordinate their efforts with the art therapy education people and fi- nally with the people in art education, then a great deal could be accom- plished along these lines. Being open has been a hallmark of AATA's, and I hope always will be. Write to Shaun and let him know what you need and want.

Sandra L. Kagin, M.A., ATR, is di- rector, Institute of the Expressive Therapies, University of Louisville, Louisville, Kentucky.

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and certainly as an organization, were not ready. Perhaps the time has come to re-investigate this possibility. I can visualize a situation where our Dr. Adams had a specific purpose in mind for her art therapy education: let us say to supplement her skills with handicapped children. Perhaps the re- quirements for her registration should then be different from another Dr. Adams who desired to become an art psychotherapist working with neu- rotic adults. If the Standards people then coordinate their efforts with the art therapy education people and fi- nally with the people in art education, then a great deal could be accom- plished along these lines. Being open has been a hallmark of AATA's, and I hope always will be. Write to Shaun and let him know what you need and want.

Sandra L. Kagin, M.A., ATR, is di- rector, Institute of the Expressive Therapies, University of Louisville, Louisville, Kentucky.

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The new Thompson catalog, along with its famous Color Guide, is waiting for you . . just mail the coupon and it will be on its way . . . absolutely FREE.

Thomas C. Thompson Co. Dept. AE- 4 539 Old Deerfield Road Highland Park, Illinois 60035

.Enclosed is payment for new kiln package. (Illinois residents add 5% sales tax.)

_Please rush FREE Thompson Catalog. Name Address

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Art Therapy Research Reprinted, by permission, from ART PSYCHOTHERAPY, by Harriet Wade- son, pp. 318-331. Copyright ? 1980 by John Wiley & Sons, Inc.

Art Therapy Research Reprinted, by permission, from ART PSYCHOTHERAPY, by Harriet Wade- son, pp. 318-331. Copyright ? 1980 by John Wiley & Sons, Inc.

"In My More Recent Studies Patients' Comments Were Necessary and Included Though Not Submitted to Statistical Analysis. Although Not so Exact, Often a More Holistic Method Such as This Preserves the Richness and Meaningfulness of the Art Therapy Material."

Harriet Wadeson

Those concerned with the growth and development of the art

therapy field recognized the need for art therapy research. By producing solid and credible research, art therapists will gain increased recogni- tion and respect in the arena of the behavioral sciences through the sys- tematic demonstration of the vehicle of art expression, a most potent in- strument in furthering understanding of the human condition.

Need for Research

The need for art therapy research is a significant one. Since the dawn of history, art expression has been one of humankind's most significant means of communicating experience. From this vital source we have much to learn about oursleves and one another. As a profession devoted to the understanding of the human condi- tion in its varying manifestations through art expression, art therapy has an enormous contribution to make through the development of research. Hopefully, art therapists will devise the necessary means to be able to give credence to the observations that may be derived from the art therapy expe- rience.

In addition to these general consid- erations, there are some specific ones as well -a need for outcome studies, investigations that give empirical evidence of art therapy's beneficial ef- fects. In order for such studies to em-

"In My More Recent Studies Patients' Comments Were Necessary and Included Though Not Submitted to Statistical Analysis. Although Not so Exact, Often a More Holistic Method Such as This Preserves the Richness and Meaningfulness of the Art Therapy Material."

Harriet Wadeson

Those concerned with the growth and development of the art

therapy field recognized the need for art therapy research. By producing solid and credible research, art therapists will gain increased recogni- tion and respect in the arena of the behavioral sciences through the sys- tematic demonstration of the vehicle of art expression, a most potent in- strument in furthering understanding of the human condition.

Need for Research

The need for art therapy research is a significant one. Since the dawn of history, art expression has been one of humankind's most significant means of communicating experience. From this vital source we have much to learn about oursleves and one another. As a profession devoted to the understanding of the human condi- tion in its varying manifestations through art expression, art therapy has an enormous contribution to make through the development of research. Hopefully, art therapists will devise the necessary means to be able to give credence to the observations that may be derived from the art therapy expe- rience.

In addition to these general consid- erations, there are some specific ones as well -a need for outcome studies, investigations that give empirical evidence of art therapy's beneficial ef- fects. In order for such studies to em-

body a sound research methodology there must be control groups, that is, comparable groups of patients who did not receive art therapy and whose condition, therefore, did not improve, thus demonstrating that art therapy was the curative force. Obviously, since many factors play a part in a pa- tient's change, isolating the art therapy variable in this way is very difficult. To complicate matters further, there are not often good out- come studies for other forms of psychotherapy that have been around a lot longer than art therapy. One rea- son is that outcome is a difficult vari- able to measure. Is a favorable out- come indicated by no rehospitaliza- tions, obtaining a job, interacting well with friends and family, or some other way to measure quality of life?

Problems in Art Therapy Research The present thrust of art therapy

training is directed toward development of clinicians. Some of the work that has been produced has been guided by behavioral scientists from other disci- plines who are not necessarily sensi- tive to the special attributes of com- munication through art expression.

The research problems posed in the study of art therapy data are ex- tremely complex. Although art therapy researchers may borrow heavily from the methodologies tradi- tionally employed in the behavioral sciences, art therapists may have to refine, modify, and adapt them to the peculiar problems encountered in the effort to research art expression. New methods may have to be developed for this purpose.

body a sound research methodology there must be control groups, that is, comparable groups of patients who did not receive art therapy and whose condition, therefore, did not improve, thus demonstrating that art therapy was the curative force. Obviously, since many factors play a part in a pa- tient's change, isolating the art therapy variable in this way is very difficult. To complicate matters further, there are not often good out- come studies for other forms of psychotherapy that have been around a lot longer than art therapy. One rea- son is that outcome is a difficult vari- able to measure. Is a favorable out- come indicated by no rehospitaliza- tions, obtaining a job, interacting well with friends and family, or some other way to measure quality of life?

Problems in Art Therapy Research The present thrust of art therapy

training is directed toward development of clinicians. Some of the work that has been produced has been guided by behavioral scientists from other disci- plines who are not necessarily sensi- tive to the special attributes of com- munication through art expression.

The research problems posed in the study of art therapy data are ex- tremely complex. Although art therapy researchers may borrow heavily from the methodologies tradi- tionally employed in the behavioral sciences, art therapists may have to refine, modify, and adapt them to the peculiar problems encountered in the effort to research art expression. New methods may have to be developed for this purpose.

Art Education April 1980 Art Education April 1980 31 31

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