Skip to content Skip to sidebar Skip to footer
Home / Specifically Art Therapy Has Been Used to Help Which of the Following Groups?

Specifically Art Therapy Has Been Used to Help Which of the Following Groups?

Post a Comment

Psychology
Vol.06 No.01(2015), Article ID:53112,8 pages
10.4236/psych.2015.61001

Impact of Integrated Arts Therapy: An Intervention Program for Immature Female Offenders in Correctional Institution

Kristi Kõiv, Lii Kaudne

Found of Teaching, University of Tartu, Tartu, Estonia

Email: kristi.koiv@ut.ee

Copyright © 2015 by authors and Scientific Research Publishing Inc.

This work is licensed under the Creative Commons Attribution International License (CC BY).

http://creativecommons.org/licenses/by/4.0/

Received 17 November 2014; revised 15 December 2014; accepted 6 Jan 2015

ABSTRACT

The aim of the study was to evaluate the impact of programme of integrated arts therapy on young female delinquents' who experienced emotional and behavioral problems in a correctional institution. The outlined intervention was introduced every bit part of a curriculum involving fine art therapy, drama therapy, music therapy, and dance/movement therapy sessions that were facilitated twice a week during a 5-week period. A quasi-experimental blueprint was used where an intervention group (N = 12) and a control group (N = 17) members anile 14 - 17 years were evaluated at two time points. A cocky-report version of Strengths and Difficulties Questionnaire (SDQ) and a modified Behavior Checklist (BC) were used prior to and later on the intervention to screen for acquit, emotional, peer issues, hyperactivity, and prosocial beliefs, and to investigate the frequencies of aggressive, withdrawn and prosocial beliefs. There were statistically meaning reductions in iii of the five emotional and behavioral bug measured by the SDQ, including carry and emotional problems, an increase of prosocial beliefs, and significant differences in ii domains measured past the BC: decrease in frequencies of ambitious beliefs and increase of prosocial behavior.

Keywords:

Integrated Arts Therapy, Young Female person Offenders, Quasi-Experimental Design, Behavioral Bug

1. Introduction

Arts programs accept a long history in offenders' settings―in correctional institutions and in the community, as strategies and interventions in rehabilitation (Djurichkovic, 2011) . Reviews of the literature (Reynolds et al., 2000; Slayton, D'Archer & Kaplan, 2010) during iii decades support a general positive bear on of single-modality arts-based approaches in various settings―schools, outpatient clinics, 24-hour interval handling centers, residential homes and handling centers, hospitals, nonclinical setting, and correctional facilities.

Arts therapies offer children, adolescents, adults and elder people therapy primarily through not-exact ways using art forms such as music, art, drama, and trip the light fantastic toe/movement in the context of psychotherapy, counseling, rehabilitation or handling (Malchiodi, 2005) . Systematic review (Meekums & Daniel, 2011) about the effectiveness of the arts and arts therapies included studies most v art modalities (art, music, dance-movement, drama, and writing) in the offender context, and the general outcomes reflected overall positive, humanizing, and healing consequence. The effectiveness was indicated by improvement of the mental health of adult and adolescent offenders, increment of emotional literacy (management of feelings and capacity to empathize with others), improved behavioral outcomes within the correctional context (reducing rule-breaking and improving relationships), and a decrease of recidivism rates. Besides, an economical evaluation of iii case studies (one of them amidst adolescents) has demonstrated how arts and the arts therapy in offender settings is a cost effective mode to rehabilitate offenders (Johnson, Swell & Pritchard, 2011: p. 37) .

Although research in offender contexts related to the effectiveness of arts therapies among adults and adolescents has been conducted, in that location is relatively little show about focusing specifically on single-modality arts- based approaches for immature offenders. In the qualitative studies of intervention programmes among male (Mazloomian & Moon, 2007; Persons, 2009; McTaggart, 2010) and female adolescent offenders (Goodkind & Miller, 2006) accept used art therapy, and music therapy among male and female person offenders (Rio & Tenney, 2002) . There are two pretest-posttest design studies amid institutionalized male juvenile offenders: DeCarlo & Hockman's (2012) study revealed the outcomes of rap therapy versus traditional group therapy in advancing prosocial behavior across violent offenders, status offenders, and non-offenders; and Johnson (1981) reported meaning improvements among music therapy intervention grouping members on measures of cocky-concept and a specific change in views of perceiving themselves as having fewer rebellious and distrustful feelings. Hartz and Thick'south (2005) quasi-experimental study compared the impact of two art therapy approaches on the self-esteem of female juvenile offenders and both groups showed a significant improvement in self-esteem. A pretest-posttest experimental design with random assignment to groups was used by Tyson (2002) to test the effectiveness of ane specific and culture-dependent form of arts―hip-hop therapy, in mixed gender small group context among institutionalized young offenders. The inquiry results showed improvement in peer relations in institution amongst the intervention group members.

Whereas traditional single modality arts-based approaches emphasize the particular modality, intermodal approaches integrate and embrace all arts modalities (Malchiodi, 2005) . Previous qualitative studies including integrated arts arroyo amongst female juvenile delinquents have demonstrated that arts programs tin be beneficial to both the individual and grouping situations in the institutional settings (Emerson & Sherlton, 2001; Lazzari et al., 2005) . The comeback of behavioral problems and skills ran also through the quantitative studies (Ezell and Levy, 2003; Clawson & Coolbaugh, 2001) among mixed gender group context using multiple modalities of arts in institution-based or community-based intervention programs. Namely, as a result of the iii year follow upwardly evaluation, Ezell and Levy (2003) concluded that the arts programs through workshops conducted by artists, including poets, musicians, sculptors, videographers, and graphic designers had positive touch on youth behavior both during their incarceration (reduce of rule breaking and misbehavior) and later release (decrease of backsliding rates). In i of the community-based projects, a quasi-experimental pattern was used to compare the attitudes and behaviors of multimodal art-based (arts, drama, trip the light fantastic toe, graphics, photograph) program of juvenile offenders and control grouping members, and results betoken improvements in participants' attitudes toward school, resistance to peer pressure, self-efficacy, skills (e.g. art skill, anger direction skills, communication with adults and peers, cooperation, participation), and a decrease in self-reported delinquent behavior during the plan (Clawson & Coolbaugh, 2001) .

The existing literature offers piffling back up for the utilize of integrated arts therapy in correctional institution among juvenile offenders: A primary focus on the benefits of mental health and well-beingness of participants ran through the qualitative studies among males (McMackin et al., 2002) and among females (Mohamad & Mohamad, 2014) in the grouping context.

Hence, the research question was raised: Is the integrated arts therapy program effective in decreasing emotional and behavioral problems among female institutionalized young offenders?

The aim of the study was to evaluate the touch of integrated arts therapy program on young female juvenile delinquents' emotional and behavioral problems in a correctional institution.

2. Method

two.i. Subjects and Research Designs

The juvenile institution where this research took place was a loftier security correctional institution for female adolescents in Estonia―a grooming school; which is the merely state correctional facility for female offenders and therefore, no equivalent control group was available within the state. It is unique due to its long-term residential character (residence of two years and more) and distinctive population. All immature females were proscribed for residential treatment every bit a result of committing crimes that ranged from drug possession to robbery, included besides serious status offences.

The youth range in age from 14 to 17 years, and all juvenile delinquents (N = 29) from training school fall into an intervention group or a control group. All subjects voluntarily agreed to participate in the inquiry.

A quasi-experimental, intervention-control group pre-test/post-test pattern was implemented in this written report. The experimental grouping members were volunteers, and a phone call for volunteers was made to all inmates in the preparation school. 12 inmates were assigned to the intervention group and the rest of the preparation schoolhouse inmates formed a control grouping. The experimental group members participated in the intervention program―Integrated Arts Therapy Plan. All participants attended all therapy sessions and completed the pre- and posttests measurements. The pretest was administrated during the calendar week prior to the program implementation, and the posttest during the week after the program had concluded. The full elapsing of the study was one and half month―an academic semester.

The control group (N = 17) received no interventions―participants connected their regularly scheduled daily activities and schoolhouse curriculum. The individuals in the control group participated in the pretest and post examination at the same fourth dimension equally the members of the intervention group, and they were given the opportunity to participate in the arts therapies programme after the administration of the post-test and collection of the last data.

The historic period of the participants of the experimental group members ranged from xiv to 16 years (the average age of the intervention group members was 15.56, the standard deviation 0.84); and the age of control group members ranged from fourteen to 17 (the boilerplate age of the control group members 15.61, the standard difference 0.93).

two.two. Integrated Arts Therapy Program

The implemented intervention runs as an integrated part of school curriculum. For this study, the Integrated Arts Therapy Program within grouping context was developed integrating all 4 arts modalities: art therapy, drama therapy, music therapy, and dance/motion therapy layering several fine art modalities in one session. The intervention addressed the developmental needs of participants―juvenile offenders' issues every bit identified in practice-based enquiry (Smeijsters et al., 2011) as "core" issues: distortions of cocky-concept and lack of self-es- teem; problems with expressing and regulating emotions; inability to resolve interpersonal problems and build positive relationships with peers. The aims of the integral arts therapy program were: ane) to develop a positive cocky-concept and cocky-esteem; 2) to enable participants to express their emotions and to increase emotional regulation skills; and 3) to increase effective interaction in peer relationships promoting prosocial skills development. Art therapy, drama therapy, music therapy and dance/movement therapy (appropriately: forty%, xxx%, ten%, and xx%) integrated use fulfilled these three categories of goals. Specifically, art therapy employs two-dimensional and three-dimensional fine art media to emphasize the modify and growth in the area of cocky and relationship using fine art materials to gain insight and promote the resolution of difficulties. Prestructured and improvised drama, storytelling, and function-play drama therapy encouraged the expression of emotions and the evolution of positive self-concept. Music therapy facilitated the interaction and development of insight into the participants' emotional difficulties, relationships and positive self-concept through receptive and active music making, using live, improvised music working with rhythm, pitch, tonality and mood, recreative experiences, composition experiences, receptive experiences. Dance/motility therapy focused on the use of body movement and dance, and the connections among heed, body, and emotion with the aim to increase emotional regulation skills and to develop positive self.

The institution-based intervention plan in the educationally oriented context was five weeks long, with sessions occurring twice a calendar week and lasting for 90 min each. The program's total number of sessions―10 for two intervention groups was selected in order to fit it within the academic semester time frame. Arts therapies groups were conducted in special activity rooms―in the mental health day-treatment unit of measurement in the grooming schoolhouse facility.

For this written report, two specialists―i of them was the second author of the report, provided sessions to the participants. Both qualified specialist held a masters' caste in education and were also certified in the surface area of arts therapies during complementary studies. Each practitioner conducted two group sessions per week. Before and during the study, the practitioners met on a weekly basis to discuss the appropriateness of interventions for meeting the established goals as the written report progressed; and assessed participants behaviors and grouping dynamics.

Practitioners took a non-directive, facilitative approach during the sessions: Quite directive in the bug of safety and best interests of the kid, but as non directive every bit possible with regard to the interpretation of the textile/fine art products which arises during the sessions.

2.3. Session Construction

The sessions were structured to combine personal exploration and arts-based group work in a safe and confidential atmosphere taking into business relationship the therapeutic group dynamics across the session. Each group session began with interactive warming up activities followed by active-improvisational main activities consisting of components of dance and movement, drama, music, and fine art therapy methods effectually 1 of the main themes fulfilling the aims of the program. The final part of the group session consisted of a discussion or sharing.

In the opening activity, the participants were included in the trip the light fantastic toe-move/drama/music/art experience which established a common ground for the main activity. During the first 15 minutes of the session, a chief topic or a subtopic (e.g., fright, acrimony, self-esteem, self-defeating behaviors, barriers to communication, constructive communication etc.) was discussed and an exercise related to the topic was introduced. In the primary activity section, the participants engaged in sequenced integrated activities of art therapy, music therapy, drama therapy and dance/movement therapy targeting to the "core" problems. The finishing activity of the session included the participants' sharing of their creative experiences and a sense of achievement and mutual supporting.

For each session plan, adaptations and extensions were provided to conform individual differences within each group. Integrated arts approach activities were structured and planned but flexible, accepting also spontaneous activities occurring in the secure grouping context. Although the overall session format remained consistent, the directives varied between the settings and research periods. An example of the session description is summarized in Appendix A.

two.4. Instruments

The self-report version of Strengths and Difficulties Questionnaire (SDQ) and modified Behavior Checklist (BC) were used prior to and later the intervention to screen for emotional and behavioral issues (deport, emotional, peer problems, hyperactivity, and prosocial beliefs) and to quantify the frequencies of aggressive, withdrawn and prosocial behavior. The SDQ (Goodman, 1997) , as an internationally applied and validated screening questionnaire (SDQ, 2001) , which has demonstrated expert validity and reliability in unlike populations (Goodman et al., 1998; Goodman et al., 2000) . Questionnaire consists of 25 statements rated on a three- point scale and divided into five subscales: Conduct Problems, Emotional Problems, Hyperactivity, Peer Problems, and Prosocial Beliefs. Each of the items of the SDQ is scored on a 3-betoken Likert scale with 0 = non true, 1 = somewhat truthful or 2 = certainly true, with higher scores indicating greater problems, except for prosocial behavior, where a higher score indicates more positive behavior. All subscale scores are summed to provide standard scores.

The modified BC developed by Ross, Lacey and Parton (1965) consists of three measurement areas as subscales: ambitious beliefs, prosocial behavior, and withdrawn behavior. Aggressive-Behavior Scale consists of 25 items (for example items: I interrupt whoever is speaking. I start fighting over nothing), Withdrawn-Behavior Scale consists of (e.1000. I become frightened easily. I am boring in making friends) 19 items; and Prosocial-Beha- vior Calibration compose xx items (e.g. I am considerate of others. I am cocky-confident) with higher scores reflecting frequent behavior). Items were scored on a 4-point Likert scale ranging from 0 = never to 3 = very often. The sum of each subscale items indicates the descriptive frequency of a item behavior. The internal consistency of the BC yields average coefficient alpha reliabilities of 0.80 for the Aggressive behavior, 0.78 for prosocial behavior, and 0.79 for the withdrawn behavior scale.

3. Results

In order to identify any modify in participants' emotional and behavioral bug, the SDQ and the BC were administered before and afterward the plan conducted amid experimental and control group. The pretest and posttest scores of the SDQ and the CB were compared to test for significant differences before and afterward the programme implementation amidst two study groups' members using paired sample t-tests. The SDQ was used to screen for emotional, conduct and peer issues, hyperactivity and prosocial behavior. The results of t-test analysis indicated that in three sub-categories of emotional problems, carry problems and prosocial behaviors, at that place were significant differences betwixt the intervention group pretest and posttest scores, and betwixt the intervention group and control group cores after the intervention. In that location were no significant pre-post differences between two report groups' pre-posttest scores in hyperactivity and peer problems. The pretest-posttest analysis revealed significant changes in outcomes measured past the SDQ between the experimental and control group: decreased acquit bug and emotional bug, as well as improved prosocial behavior among the intervention grouping members (Table 1).

In the three areas of aggressive, prosocial and withdrawn behavior measured by the BC, in that location were significant differences in aggressive and prosocial beliefs, but non in withdrawn behavior between the intervention grouping pretest and posttest scores, and between the intervention grouping and control grouping cores after the intervention. The results of the comparison of the pre- and post-session of the BC results between the experimental and command group showed that there were statistically pregnant subtract in frequencies of aggressive behavior and increase of prosocial behavior among the intervention group members (Table 2).

iv. Conclusion

A previous review (Smeijsters et al., 2011) shows that effects of the arts therapies used with immature people who take been committed by a juvenile court to an establishment can be beneficial to both the private (reduced assailment, acrimony, tension, stress, and cognitive distortion and of improvements in impulse control, emotional expression, coping skills) and correctional establishment (compliance with rules and social skills). The present report reflects an attempt to specify the impact of integrated arts therapy on emotional and behavioral issues among institutionalized female young offenders. An Integrated Arts Therapy (art, music, drama/movement, and drama) program was adult, applied, and tested using a quasi-experimental research designs in the female juvenile offenders' correctional establishment. Also, Wyatt (2002) mention the need to evaluate the benefits of arts therapy amongst female offenders and our research extends this surface area in connection with the integration of therapeutic ap-

Tabular array i. Mean pre- and posttest scores and t-examination values among comparing groups' scores on the Strengths and Difficulties Questionnaire (SDQ).

*p < 0.05; **p < 0.01.

Table ii. Hateful pre- and posttest scores and t-values amongst comparison groups on the Behavior Checklist (BC) subscales.

*p < 0.05; **p < 0.01.

proaches into offenders' educational settings, supporting previous attempts (Chong & Kim, 2010).

The present quasi-experimental written report revealed statistically significant differences in posttest scores between the control and experimental groups with improvement of prosocial behavior and decrease of aggressive behaviors, conduct problems and emotional bug among intervention group members. The statistical data gathered in this study provided empirical evidence that the integrated arts therapy intervention in a group setting might be constructive in reducing emotional and behavioral problems of female person juvenile delinquents. Information technology was revealed that female juvenile offenders receiving multi-arts approach integrating art, drama, music and trip the light fantastic toe/ movement every bit the grouping intervention showroom a change in their behavior with comeback of prosocial behavior and a decrease of their emotional and behavioral problems in the area of aggression, conduct and emotional problems.

The SDQ and CD results supported the supposition that a developed Integrated Arts Therapy Program might be effective to encourage prosocial beliefs in the adolescent female offenders in the correctional facility supporting qualitatively revealed benefits of applied integrated arts approaches (Emerson & Sherlton, 2001; Lazzari et al., 2005) and integrated arts therapies (Mohamad & Mohamad, 2014) among young female offenders. As well, the increment in prosocial behavior identified through this research links with DeCarlo and Hockman'southward (2004) study showing benefits of music (rap) program as a tool for advancing prosocial behavior amid delinquent and non-runaway adolescents. We may speculate that the implementation of integrated arts therapy programme may cultivate these factors, crucial in raising prosocial behavior, in a style that engages about of this characteristically resistant population―female person juvenile delinquents.

The nowadays study also suggests that the institution-based integrated arts therapy program can accept an impact on emotional and behavioral problems of female young offenders. First, the results of this written report suggested that the implemented multimodal arts therapy intervention was useful in correctional setting to bring well-nigh appropriate behavioral changes amongst the participants during the intervention―a decrease of the frequency of ambitious behavior. Too, Cleveland (1992) found that an improvisational theater program, and Gardstrom (1999) suggest that music therapy intervention, may demonstrate a decrease in violence for the program participants― juvenile delinquents. Secondly, the present results showed that emotional and conduct problems measured past the SDQ decreased during intervention. A previous qualitative report (Bannister, 2003) in the area of implementation of drama therapy amidst sexually abused children also showed that parental and teacher opinions on the children'south beliefs were favorably expressed equally they completed the SDQ questionnaire after the intervention. Our positive result in the surface area of decreasing emotional problems of young female person offenders is parallel with data from the literature amidst adults prisoners (e.g. Ferszt et al., 2004; Gussak, 2004; 2009 ) indicating that art therapy strongly focuses on emotions and improve the female and male participants' mood. Also, the findings among juvenile delinquents (Clawson & Coolbaugh, 2001) revealed improvement of anger management skills while using integrated arts approach. The results of the present written report in the area of decreasing of conduct behavior of juvenile female offenders are consistent with Ezell and Lewy's (2003) results who plant that arts-based programs for juvenile delinquents enabled to increase compliance with institutional rules and decreased misbehavior.

In that location were some shortcomings in the study, and thus the results of the study should not be generalized to other populations, we emphasize the need for research that would identify principles of an effective integrated arts therapy intervention applicable to both males and females. The 2nd limitation may have been the design of the study―there was no possibility to select participants randomly for the formation of intervention group, merely they were voluntarily chosen, and those who volunteered may take been more motivated to participate (Malchiodi, 2003) . The strength of randomization is that it creates ii groups that are approximately equivalent at the very beginning and it would aid to overcome the shortcoming of the present study in which the experimental and control groups bear witness quite different levels (although non pregnant) on both score forms. The third rigor of this study is the limitation of a relatively short flow of intervention to induce intrapersonal and interpersonal changes through the intervention programme, equally well as the limitation of a relatively pocket-size sample size. Post-obit studies volition increase the sample size, extend the number of sessions the participants volition receive, and augment the investigation to include non only participants' behavior issues, but also their problems continued with long-term mental health and wellbeing.

This written report, withal its methodological limitations, suggests that the integrated arts therapy (art, drama, music, and trip the light fantastic toe/move) in a correctional institution context might be an effective intervention and can lead to at least curt-term positive changes in young female offenders' beliefs by improving their prosocial beliefs and decreasing emotional and conduct problems, and frequency of ambitious behavior. In summary, this study identified that developed and implemented integrated arts therapy programme was a useful intervention modality for female person juvenile offenders in the correctional facility to bring about appropriate behavioral changes among delinquent adolescents' emotional and behavioral operation.

References

  1. Bannister, A. (2003). The Effects of Creative Therapies with Children Who Have Been Sexually Abused. Dramatherapy, 25, one-9. http://dx.doi.org/10.1080/02630672.2003.9689619
  2. Clawson, H. J., & Coolbaugh, Thou. (2001). The Youth ARTS Evolution Project. Juvenile Justice Bulletin. Washington, DC: Office of Juvenile Justice and Malversation Prevention, United states of america Department of Justice. world wide web.ncjrs.org/html/ojjdp/2001_5_2/contents.html
  3. Cleveland, W. (1992). Art in Other Places: Artists at Work in America'due south Customs and Social Institutions. Westport, CT: Praeger.
  4. DeCarlo, A., & Hockman, Due east. (2012). RAP Therapy: A Group Work Intervention Method for Urban Adolescents. Social Work with Groups, 26, 45-59. http://dx.doi.org/x.1300/J009v26n03_06
  5. Djurichkovic, A. (2011). Art in Prisons: A Literature Review of the Philosophies and Impacts of Visual Arts Programs for Correctional Populations. Salisbury E, QLD: Arts Access Australia.
  6. Emerson, E., & Shelton, D. (2001). Using Creative Arts to build Coping Skills to Reduce Domestic Violence in the Lives of Female Juvenile Offenders. Problems in Mental Health Nursing, 22, 181-195. http://dx.doi.org/ten.1080/016128401750063358
  7. Ezell, M., & Levy, Thou. (2003). An Evaluation of an Arts Program for Incarcerated Juvenile Offenders. Journal of Correctional Pedagogy, 54, 108-114.
  8. Ferszt, K. Chiliad., Hayes, P. M., DeFedele, S., & Horn, L. (2004). Art Therapy with Incarcerated Women Who Have Experienced the Death of a Loved Ane. Fine art Therapy. Journal of the American Art Therapy Association, 21, 191-199. http://dx.doi.org/10.1080/07421656.2004.10129695
  9. Gardstrom, S. C. (1999). Music Exposure and Criminal behavior: Perceptions of Juvenile Offenders. Journal of Music Therapy, 36, 207-221. http://dx.doi.org/10.1093/jmt/36.3.207
  10. Goodkind, South. & Miller, D. L. (2006) A Widening of the Net of Social Control? "Gender-Specific" Handling for Young Women in the US Juvenile Justice Organisation. Journal of Progressive Human Services, 17, 45-70. http://dx.doi.org/ten.1300/J059v17n01_04
  11. Goodman, R. (1997). The Strengths and Difficulties Questionnaire: A Enquiry Note. Periodical of Child Psychology and Psychiatry, 38, 581-586. http://dx.doi.org/10.1111/j.1469-7610.1997.tb01545.10
  12. Goodman, R., Meltzer, H., & Bailey, V. (1998). The Strengths and Difficulties Questionnaire: A Pilot Written report on the Validity of the Self-Report Version. European Child &Adolescent Psychiatry, 7, 125-130. http://dx.doi.org/10.1007/s007870050057
  13. Goodman, R., Ford, T., Simmons, H., Gatward, R., & Meltzer, H. (2000). Using the Strengths and Difficulties Questionnaire (SDQ) to Screen for Child Psychiatric Disorders in a Customs Sample. British Periodical of Psychiatry, 177, 534-539. http://dx.doi.org/x.1192/bjp.177.half-dozen.534
  14. Gussak, D. (2004). Fine art Therapy with Prison house Inmates: A Pilot Study. Arts in Psychotherapy, 31, 245-259. http://dx.doi.org/10.1016/j.aip.2004.06.001
  15. Gussak, D. (2009). Comparing the Effectiveness of Fine art Therapy on Depression and Locus of Control of Male and Female Inmates. The Arts in Psychotherapy, 36, 202-207. http://dx.doi.org/ten.1016/j.aip.2009.02.004
  16. Hartz, L. & Thick, L. (2005). Fine art Therapy Strategies to Enhance Self-Esteem in Female Juvenile Offenders: A Comparison of Fine art Psychotherapy and Art as Therapy Approaches. Fine art Therapy, 22, 70-fourscore. http://dx.doi.org/10.1080/07421656.2005.10129440
  17. Johnson, E. (1981). The Role of Objective and Concrete Feedback in Self-Concept Treatment of Juvenile Delinquents in Music Therapy. Journal of Music Therapy, xviii, 137-147. http://dx.doi.org/ten.1093/jmt/18.3.137
  18. Johnson, H., Keen, South., & Pritchard, D. (2011). Unlocking Value: The Economic Do good of the Arts in Criminal Justice. New Philanthropy Upper-case letter, Written report commissioned by Arts Alliance. http://www.artsalliance.org.uk/sites/default/files/UnlockingValue_0.pdf
  19. Lazzari, M. M., Amundson, K. A., & Jackson, R. L. (2005). We Are More than Jailbirds: An Arts Program for Incarcerated Young Women. Journal of Women & Social Work, 20, 169-185. http://dx.doi.org/10.1177/0886109905274543
  20. Malchiodi, C. A. (2003). Expressive Arts Therapy and Multimodal Approaches. In C. A. Malchiodi (Ed.), Handbook of Art Therapy (pp. 106-119). New York and London: The Guilford Press.
  21. Malchiodi, C. A. (2005). Expressive Therapies: History, Theory, and Practice. In C. A. Malchiodi (Ed.), Expressive Therapies (pp. 1 -fifteen). New York and London: The Guilford Press.
  22. Mazloomian, H., & Moon, B. L. (2007). Images from Purgatory: Art Therapy with Male Adolescent Sexual Abusers. Art Therapy. Journal of the American Art Therapy Clan, 24, 16-21. http://dx.doi.org/ten.1080/07421656.2007.10129367
  23. McMackin, R. A., Leisen, M. B., Sattler, Fifty., Krinsley, K., & Riggs, D. South. (2002). Preliminary Evolution of Trauma Focused Treatment Groups for Incarcerated Juvenile Offenders. Journal of Aggression, Maltreatment and Trauma, 6, 175- 199. http://dx.doi.org/x.1300/J146v06n01_09
  24. McTaggart, K. (2010). Art Therapy and Immature Offenders. Journal of Thai Traditional & Alternative Medicine, 8, 69-75.
  25. Meekums, B., & Daniel, J. (2011). Arts with Offenders: A Literature Synthesis. The Arts in Psychotherapy, 38, 229-238. http://dx.doi.org/ten.1016/j.aip.2011.06.003
  26. Mohamad, S. Grand. A. A.S., & Mohamad, Z. (2014). The Use of Expressive Arts Therapy in Understanding Psychological Issues of Juvenile Delinquency. Asian Social Science, x, 144-161. http://dx.doi.org/10.5539/ass.v10n9p144
  27. Ross, A. O., Lacey, H. Thou., & Parton, D. A. (1965). The Development of a Behavior Checklist for Boys. Child Development, 36, 1013-1027. http://dx.doi.org/10.2307/1126940
  28. Persons, R. Due west. (2009). Art Therapy with Serious Juvenile Offenders: A Phenomenological Analysis. International Journal of Offender Therapy and Comparative Criminology, 54, 433-453. http://dx.doi.org/10.1177/0306624X08320208
  29. Reynolds, M. W., Nabors, 50., & Quinlan, A. (2000). The Effectiveness of Fine art Therapy: Does It Piece of work? Art Therapy, 17, 207- 213. http://dx.doi.org/10.1080/07421656.2000.10129706
  30. Rio, R. E., & Tenney, K. South. (2002). Music Therapy for Juvenile Offenders in Residential Handling. Music Therapy Perspectives, 20, 89-97. http://dx.doi.org/ten.1093/mtp/xx.2.89
  31. SDQ (Strengths and Difficulties Questionnaire) (2001). What Is the SDQ? http://www.sdqinfo.com/b1.html
  32. Slayton, Southward. C., D'Archer, J., & Kaplan, F. (2010). Outcome Studies on the Efficacy of Art Therapy: A Review of Findings. Fine art Therapy. Journal of the American Art Therapy Association, 27, 108-118. http://dx.doi.org/10.1080/07421656.2010.10129660
  33. Smeijsters, H., Kil, J., Kurstjens, H., Welten, J., & Willemars, G. (2011). Arts Therapies for Young Offenders in Secure Care―A Practise-Based Research. The Arts in Psychotherapy, 38, 41-51. http://dx.doi.org/x.1016/j.aip.2010.10.005
  34. Tyson, E. H. (2002). Hip-Hop Therapy: An Exploratory Study of a Rap Music Intervention with At-Take a chance and Delinquent Youth. Journal of Poetry Therapy, xv, 131-144. http://dx.doi.org/10.1023/A:1019795911358

Appendix A: Sample of Structured Session Clarification (Session 2)

Aim of the session: To increase effective interaction in relationships evoking positive emotions.

Warming up activities (a transition action that is meant to set the participants for getting into the session).

- Opening activity―circle time: expression of current thoughts and emotions, expressing emotions through drawing, motility, rhythm and vocalisation, picked items.

Preparing for the art activity (brainstorming and discussing a particular topic or theme with the grouping).

- Brainstorming and discussing benefits of helping behavior. Developing and agreeing on collective prosocial rules and forming them into creative contract.

Primary activities (art making and fine art sharing).

- Expressing and acknowledging positive emotions through movement, mimics, making music by rhythmical instruments, reflecting emotions through motion and body sculptures.

- Drawing and free-writing positive emotions in close relationships.

- Making so called "mood card" every bit a mixture of drawing and collage in a group, as well calculation the names of the emotions to the pictures, expressing ii chosen emotions from a collective sculpture of human bodies.

- Writing a alphabetic character to someone shut and important and designing the envelope co-ordinate to the content of the letter.

- Preparing and producing improvised drama using the six-role story-making technique, under the theme: The helper.

Ending (endmost the fine art imaginary world of the session and ensuring that the participants are able to walk out of the group safely).

- Making cards with a positive interpersonal message, discussing their content.

- Relaxation and Imaginary Journeying.

- A ritual ending with a circle of trust of thumbs.

orrdausay.blogspot.com

Source: https://www.scirp.org/html/1-6901356_53112.htm

Post a Comment for "Specifically Art Therapy Has Been Used to Help Which of the Following Groups?"