Since humans have first come around, our bodies had developed and grown to engineer more complex, advanced and strategic actions from response to stimuli. These actions are generated based on the environment and that someone is in. The motor system strengthens the link between movement, emotion and interaction. By utilizing the motor system to its maximum potential, it is one of the key tools in art therapy. It allows expressive art motions to provide safety, hope and relief for those who participate in it. It is said "The motor system can be imagined as a tree, with branches that extend to the tree's crown, adorning cognition with affect and motion, which emerge from its trunk and roots" (Cohen- Fendalay 58). There are three different levels of the motor system. The higher portion of the system is responsible for reactions that come from sounds, movement, sensor triggers, touch and visuals. They are in charge of deciphering and processing the information so that they can be put into action in sensory imputs. The upper part is also the section where movements become more meaningful and symbolic that can be processed and connected to memories or emotions previous. The other part, "The cerebellum, appropriately named the little brain, is involved in the coordination of voluntary and involuntary movements" (Cohen- Fendalay 61). This small section of the brain is responsible for control, attention, speaking/language, learning, emotions, addictions and other emotional aspects. These two work together because they lean on each other; one can't work if it doesn't send the other information. Lisa Cerrina, one of the clinical patients, says "Creating art provides us with new information about ourselves as well as a means of communicating thoughts and feelings that otherwise might have not been available to us through verbal communication".
Within the ATR-N Model, Movement is extremely critical to a patients response to art therapy. The Motor System provides the opportunity to knock down barriers put between others, and is able to speak for those who fear telling others what they feel with words. The authors say that young clients will most likely benefit from theraputic motion because it will help them develop critical coordination skills, and ones who have been abused will have an easier time soothing their nerves and transitioning from defensive motions to loving, trusting motions. This Creative Embodiment principle is also critical to those who have PTSD, so if they are participating in art therapy activities dancing and movement helps them to process traumatic memories while decreasing the pain associated with them. "Motion can be embodied concretely, as in movement, or symbolically accessed. It is also an opprotunity to joyfully interact" (Cohen-Fendalay 64). Movement through the motor system creates a platform for people to make alterations to their lives, and will lead them to be healthier, more confident and more successful going into the future if they are able to process and demonstrate their emotions accordingly.
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This was a very interesting chapter, as it dug into the first of the CREATE Principles I've been talking about; which is Creative Embodiment. This is the principle where it focuses on the aura, feelings and skills that are brought on by an artists work space. Many motions are symbolic for a variety of different things; they propose that "such simple beginning and ending gestures provide emotional and cognitive motion based outlets" (Hass-Cohen 2008). Humans complete thousands of actions mindlessly every single day; but the process of art therapy analyzes and finds reasoning between those that are conducted to connect to emotions. Individual and group actions are "communicating interest, conveying respect, showing appreciation of the clients difficulties in beginning to create art, helping to abandon judgment, and providing attuned acceptance" (Hass-Cohen 2008). It is all about the comfort in a workspace to embody and capture their creative ideas and emotions and turn them into something visible. Experience I: My Space
This is a extremely crucial beginning to the structure and success of the ATR-N Model an CREATE Principles. These go deeper into the clinical studies that were actually conducted to write this book. They started by having full sheets of brightly colored butcher paper, and taping them neatly and securely to their table. After this, they were encouraged to decorate and express themselves on this sheet of paper to work on with any different media. There were many different reactions to this task, and most of them started unsure and confused on how to express themselves. So they started to just draw anything: some chose paint, others chose pastelles or just markers. But in the process of making these posters, they had the option of using their own supplies or ones from the group table. They were "encouraged to share their art materials with one another's which fosters movement within the clinic or expressive arts studio and influences creative motivation" (Hass-Cohen 2008). In the midst of this activity it showed self project, reflection and acceptance of themselves. They got to put themselves and do an activity that made them at ease, because you know yourself better than anyone else. One of my favorite examples was Maggie; one of the patients that was participating in the program who was an American-Chinese child. She has never been accepted for who she is in one culture; she has the distinct features given from the Asian culture, yet as a Chinese origin she has been too far manipulated and some of the aspects of a true Chinese was lost in her. She belongs to neither one snuggly; and she showed that in her self expression work space. There was a large wall, and on it separating the Chinese and American versions of her name was written "Somewhere Inbetween", which is the title of the piece. She's in the middle, and is exposed to both sides yet doesn't belong to either one. This was powerful because a lot of people struggle with this, and sometimes it isn't just ethnicity. It could be personality, purely physical characteristics or hobbies; anything. I feel I struggle with this personality wise. I have friends that are more quiet, closed up, more thoughtful and less impulsive as well as introverted. Those ones are typically more at school, and I see them a lot during that time. Then I have my friends out of school; who are a little more rambunctious, daring and more vocal. I fall Inbetween this, just like Maggie, because I don't really have a mirror image of a "group"; I'm different then all of them, and I never have found a person whom I completely agree with on anything or even 75%. I'm fairly mixed on a vide assortment of topics, and I struggle with this like Maggie because it's hard to feel like you belong of you have no distinct place. Experience II: Group Space At this point after all the banners on the tables are done, the studio participants are to form a collage of all their pieces. To do this, they could cut their piece either horizontal/ vertical, or could cut it to be more shaped and to their liking. Some people did more swerved, different cuts while some stuck to the original shape of the table. They worked together to collaborate and put them on a wall and analyze each other's pieces. There are common themes, relational connections and overall this part of the exercise helped them to realize that there are people going through whatever they are, and there's people who are feeling the same way; abandonment, isolation, depression, uneasiness; all of it. In the end it helped them to boost their confidence and support of one another and themselves; that they are human and not going through anything alone. **THIS CHAPTER WAS THE BEST SO FAR. It's so applicable to the children that I work with, as well as my decisions and preferences in my art work as well. It also helps me to analyze other pieces of art in stores, museums and general art around the community. This is truly fascinating. **For this chapter, it digs deeper to analyze the three parts of the brain and their relation to the process within the ATR-N Model.
The Reptilian, Lower Brain: Motor-Sensory Inputs and Responses Not only is this the smallest and oldest parts of the brain, it is crucial to keep in order sleeping cycles, breathing, regulating consciousness and other important actions organisms have to do to stay alive. It is commonly assciated with the fearful emotions that are linked to survival, mating and maintaining themselves. Many ancient civilizations were fascinated by this part because it also stimulated action and responses to touch, temperature, vibrations and other motions that are enacted through nerves. In this part of the brain the actions are completed, but it begins processing those emotions that will result in an action towards the higher region of the brain. The Limbic System-Central Brain: Generating Emotion Sandwiched between the two other sections of the brain, the Limbic part of the brain supports the survival behaviors and forms the basic emotions triggered by long or short term memories, as well as things as that are occurring. Some basic emotions are anger, joy, sadness, etc and can be seen in facial expressions. There are links between the emotion and motor areas, placing it intermediate strategically because it communicates and acts as a bridge between the other two parts. It is also responsible for generating stress and motivational based emotions as well as fear based which leads to fighting, eating, drinking as actions produced from those emotions processed. The researching of the Limbic structure has lead to the discovery that memories aren't a stable process, but more of a liable process that show even the oldest memories can still change (this is why Alzheimer's basically exists to some extent). The Higher Brain: Affect Regulation and Meaning Making The outer part of the brain is the most recent to evolve, and is the structure which holds "hugher-order thinking, reason, and speech" (Goldberg 2009) as well as reacts to the delivery of sensitive emotion. Every single person has a differently shaped higher part of their brain because of life experiences and education that give different connections to other memories in handled parts of the brain. These also recieve and interpret emotions from the other two layers of the brain, then formulate that to be reflected in actions being performed. "The brain is divided into parallel hemispheres.. Each hemisphere has somewhat different processing specialization stay are interconnected via neutral pathways called commissaries" (Cohen 41). This is increasingly interesting because at one point only one hemisphere of the brain is occupied, then going into the next phase of life connects the early childhood knowledge and memories to link them with the other parts to build off of them. People start with basic words like Mom & Dad, then going further into life they develop and larger vocabulary based off of the one they were taught earlier. It is also said women have stronger hemispheric connections , making them able to obtain, process and utilize information better. The neocortex has two sides: one that controls the left sides motor functions, actions and speech, then one on the right. The higher part of the brain is also responsible for cognitive functions like organizing, planning, sequencing, grouping, and problem solving (all valued aspects in society, especially today). The five senses of taste, sight, touch, smell and hearing. **these are all very interesting to try and interpret reading, and going back to last weeks first part of the chapter it is easy to understand that doing a more complex drawing or model of a brain allows for more processing and understanding of the power and functions of the brain as a whole. **For this chapter, since there were so many mini sections in this one chapter it will be split into two parts, and have numerous different mini sections in each part**
Experimental Practices and Directives The first line of this whole section is that "the making of art acts as a force of integration and inter-connectedness of all the brain systems, creating a greater awareness and understanding of the whole experience" (Cohen 60). This ties in the effects and responses to art therapy with different clients. All humans have three different sides of their brain; the reptilian (lower), limbic (central) and neocortex (higher). Each connects and plays a role in developing emotions and connections when going through stages of art therapy. All three of these areas can benefit from active learning which "uses verbal, visual, auditory, and kinesthetic strategies to support creativity, build brain capacity, and provide a transformative environment that lends itself to changing the brain and to personal and social meaning making" (Diamond, Krech & Rosenzweig, 2009; Kays et al., 2012). By engaging themselves in critical thinking therapeutic sessions, it will help communication between themselves and others, as well as their teachers and artwork. Experience I: Brain Maps The study of the brain is actually used in therapy sessions was tested to measure the response specific exercises had on the clients. First they drew a brief, non detailed version of the three parts of the brain. While it is said "drafting sketches without looking at textbook figures assists us in ingraining structure information into memory" (Cohen 65). The clients when just drawing a simple outline of each part of the brain were not emotionally connected to it and were not able to process or interpret what they were doing. When told to create a more detailed and color simulated drawing of the structure of the brain, the clients were more engaged in the project, built a relationship with their piece and emotionally placed a piece of themselves in their art work. By adding more and thinking about what they were doing as they were doing it, it allowed them the opportunity to channel any inner emotions or connections that they felt because of it. In this study comparing the stimulation's in drawing and interpreting the structure of the brain, it shows the perception, motivation, and thought process one goes through when creating different types of art. Experience II: Modeling the Brain In this mini section, it states the results of an additional part of the last sections findings, when the students created 3-D models of the brain structure. It as found that "manipulating the clay to reproduce these tissues, organizing the brain structures, and creating a duplicate of each limbic structure sometimes results in clumsy caricatures that can leave individuals feeling frustrated and perhaps anxious" (Cohen 69). Creating a 3-D brain is not easy, and with the project at hand being extremely difficult made the clients feel angry, frustrated and unsatisfied. They were more reflective on their emotions, considering the previous drawings activities, and were able to identify what triggered them to feel and act that way, and also allowed therapists to see which areas needed support and which were responding correctly. In this chapter it focuses on the main foundation and start for the ATR-N model to be built on. The creative clinic "is an ideal setting for didactic learning of clinical neuroscience information, experiential engagement with specific art directives, and mindful reflection" (Cohen 46). Without a safe, comfortable and and balanced environment there is no trust or relationship between a client and their therapist that will be able to apply the CREATE principles or the ATR-N model strategy. Participating in forms of art makes a person more susceptible to self development and makes the lives of art therapists easier. By attending art therapy for clinical purposes, it allows the art therapist an opportunity to identify if there is any personal issues when working with a client, and allow them to experience the various dimensions and whole other realm of art. The proper environment for this all to happen in is crucial: as it is the base of the structure in engaging with the "reality of our images" (Cohen 47) and making art pieces that give the artist emotion. While "some art making may be pleasant or neutral, while other labors may trigger anxiety or fear of the unknown" (Cohen 47). It depends on the use of the media to produce and paint a piece of art: for me personally it is sayisfying to have paint glide down smoothly on a canvas, but I don't like when scratching tools are used on rough or even smooth medias to damage them. Those type of emotions and realizations can be determined by using the CREATE principles, to test and work with clients to mentally build them and support themselves in a way they never saw possible.
Next time going in to teach a class, I will keep these things in mind while working with kids. A strong stabilized environment and work space is key to helping them grow and take away from any type of art practice. This chapter, while short, I felt more connected to because it's directed towards the teachers and therapists themselves. I more closely interact with them and it helps me to think that while I'm teaching these things that I can do will help take them to the next level; to be more open, more social and more confident in their work. The ATR-N is the map that helps navigate and break down the CREATE principles, as mentioned in the recent posts. This helps to group and demonstrate the dynamic ways brains and other systems in the body actively play a part during art therapy. The whole foundation of CREATE is that when someone is mentally and emotionally engaged while creating art evokes a more creative and inspired aura for artists to work in. The ATR-N Model unites actual and implied actions while integrating and exploring interpersonal space, social interaction and increasing motivation. By blending these components into art therapy it is more successful in eliminating negative feelings and gaining positive ones through sharing art on social media, touching and going to look at others artwork, and interacting with things that mean the most to them. It is said that "it is both the sharing of art with others, and the making if art in the presence of others that most contribute to therapeutic change" (Cohen 41). Not only sharing and going to see displays of other peoples work, but working together and in the same environment has found to be important in a steady recovery through art therapy.
Art therapy unites people under love, devotion, teaching and support. Building up that confidence in a comfortable, relaxing environment helps to boost self esteem and make stronger connections with others. This model focuses on weighing and finding a good balance of safety, expressiveness and challenges. The U.S. Government has yet to see that art therapy can revolutionize the world, and that it is now only the more cheaper option, but a more effective and joyous one. There does not need to be millions and millions of dollars flooding into the medical field to develop tactics that cause people pain. Art therapy can be the answer to the problem, and will kill multiple birds with one stone when emotionally, spiritually and physically healing people. This tactic is not recognized for its success and thoroughly developed course of action, and it should be. With art therapy, it helps those struggling with any situation and come and find acceptance, relief and a cleanse of their lives (or certain parts). It is proven to help with remembering memories, handling emotions, and to save lives while getting them back on track. THIS SHOULD BE A MORE TALKED ABOUT TOPIC ON CAPITAL HILL, AND SHOULD BE CONSIDERED TO BE USED IN MULTIPLE FIELDS OF STUDY AND CONDUCTING RESEARCH OR POLLS. **Note: Going forward, the chapters are split up into three or more different parts, and will be labeled according to details around the general topic of the chapter
Overview: This chapter digs deeper into the practice of the ATR-N Model and its six core principles, "captured by the acronym CREATE: Creative Embodiment, Relational Resonating, Expressing Communicating, Adaptive Responding, Transformative Integrating, and Empathizing and Compassion" (Cohen 27). Clinics and therapists of all specialized areas are finding and analyzing this information to advance professional development and enhance the program and skills of teaching and treating patients. Art serves as a meaningful and creative way to open social-emotional roadways in an individuals brain. It is proven that "effective change and learning must include hands on experimental practices that address both emotional and intellectual aspects" (Cohen 30). In the first part of the chapter, Relational Neuroscience ties in on strengthening the internal working systems of relationships, and also between people and ones social and self interfaces inside their lives. The intrapersonal and interpersonal exchanges generally shape the nervous system and development of ones mind, and major changes in their life can impact the way they relate and adapt in the community and within themselves. From Darwins findings, it is now proven that ones environment does affect the way they develop other skills and traits. Neurons also contribute to this, saying not only that "new neurons increase the persons ability to regulate anxiety and stress" (Cohen 32) but that they extend in brain growth and reorganization through positive life experiences and can contribute to quicker resiliency in humans. The conditions for psychological transformation needs art therapy to act as that movement through social interactions, novelty, attention and voluntary intention. Stimulation of thoughts, intentions, feelings and effort all maximize what is called the top-down affect where it shifts to the brain and expands the capacity and benefits of resiliency, extending creativity, and therapeutically putting one in a new, and better, state of mind to be less anxious, stress, improve memory and control emotions. Why should this matter to the government? Relational Neuroscience should be a VERY big topic on Capital Hill, yet programs and funding is being cut at an alarmingly rapid pace. This science that is being discovered, can help people globally solve problems, whether it be mentally or just in their individual lives. Art has changed so many peoples lives. But what is "unique to CREATE is the emphasis on social and relational implications of clinical neuroscience" (Cohen 36). Going into the second part of the chapter, it will start to examine more closely into the neurbioology and framework of this method compared to others. This program can be used all around the world to solve so many problems at various levels of degree, and can possibly help the people sitting in Washington DC also. We all know they are stressed till they turn grey and are out of their minds, art therapy could help to not only improve their health but enrich and explore their minds in a way that will help them lead better. Brief Summary
This book by Noah Hass- Cohen and Johanna Clyde Findlay is published to show the findings, benefits and the real magic behind the effects of art therapy. In the Foreward by Louis J. Cozolino, he says that "Art forms and art making mirror our experience while at the same time stimulating new ways of seeing, feeling and thinking" (Cozolino 15). Art is a transformative power, and people of all ages are susceptible to the benefits it offers. Louis goes into detail about his story and his interest into the world of art and art therapy. While walking through the Fogg museum at Harvard, a self portrait by Van Gough had him mesmerized and stopped him in his tracks as he admired and appreciated the piece. His experience is similar to what many others experience today; that art gave them a purpose in the world, and fostered growth in creative imaginations, reveal inner emotions, personal developments and pathways to healing and connecting with others or themselves. Art therapy "uses art as a matrix for the co-construction of integrated implicit and explicit self and... the ability to deeply and fully connect with others" (Cozolino 18). As a reflective and social practice, art therapy and its neuroscience is revolutionizing the world and every day helps thousands of souls and lives from the challenges they face. Personal Reflection: Reading through this chapter, it made me really think about what my volunteer work is doing to help and support people around the community, and my head drifted to one specific art class. I was an assistant teacher for an adaptive art class at Peter Piper around a year ago, and it was specifically for families who have children in wheel chairs with mental diseases. I got to help them paint ornaments and build foam snowmen, and actually have a nice conversation with them through their computer telecommunicators attached to the wheel chair. Since none of them were actually able to speak, they have computers they guide with their eyes to spell out and speak through the computer without actually saying anything (NEAT RIGHT?!?). But reading it hit me just how much these kids loved doing that project and working with other teens besides their parents or siblings. It pains me to see them stuck in a chair, and by helping them gain more independence and helping them do something they wanted to do must have made them ecstatic! Being around with your parents to take care of you 24/7 allows you a very small amount of freedom to do what you like, and talking with them and helping them complete their projects not only expanded their ability to socialize but helped them find joy in completing something the way they wanted it. I admire the way art works into the lives of so many people, and can not wait to start digging deeper into the six principles of the Art Therapy Relational Neuroscience Model (ATR-N). |
AuthorLauren Schuster. Art Activist and Enthusiast. Archives
March 2016
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