Expressive Arts Therapy Quotes

Expressive arts therapy--the purposeful application of art, music, dance/movement, dramatic enactment, creative writing, and imaginative play--is a non-verbal way of self-expression of feelings and perceptions. More importantly, they are action-oriented and tap implicit, embodied experiences of trauma that can defy expression through verbal therapy or logic.

Imagination is tapping into the subconscious in a form of open play. That is why art or music therapy, which encourages a person to take up brushes and paint or an instrument, and just express themselves, is so powerful.

What I would say is this: writing poems doesn't make you a poet. … It is only with poetry, for some reason, that everyone wants to believe they can try their hand at it once in a while and be considered, can call themselves a poet. … . It's a craft. It's an art. It's a skill. It is not therapy, and it is not compensation for terrible things in one's life. It is a thing in itself. You devote yourself to being an instrument of it, or you wander forever in the belief that it is a form of "self-expression." … And I explained very clearly my opinion of what I think a poet, an artist is. Someone who puts this thing first.

To learn theory by experimenting and doing. To learn belonging by participating and self-rule. Permissiveness in all animal behavior and interpersonal expression. Emphasis on individual differences. Unblocking and training feeling by plastic arts, eurythmics and dramatics. Tolerance of races, classes, and cultures. Group therapy as a means of solidarity, in the staff meeting and community meeting. Taking youth seriously as an age in itself. Community of youth and adults, minimizing 'authority.' Educational use of the actual physical plant (buildings and farms) and the culture of the school community. Emphasis in the curriculum on real problems and wider society, its geography and history, with actual participation in the neighboring community (village or city). Trying for functional interrelation of activities.

Play is the child’s symbolic language of self-expression and can reveal (a) what the child has experienced; (b) reactions to what was experienced; (c) feelings about what was experienced; (d) what the child wishes, wants, or needs; and (e) the child’s perception of self.

Neurobiology research has taught helping professionals that we need to "come to our senses" in developing effective components for trauma intervention.

Humans have historically used the arts in integrative ways, particularly within the contexts of enactment, ceremony, performance, and ritual.

In America, Rousseauism has turned Freud’s conflict-based psychoanalysis into weepy hand-holding. Contemporary liberalism is untruthful about cosmic realities. Therapy, defining anger and hostility in merely personal terms, seeks to cure what was never a problem before Rousseau. Mediterranean, as well as African-American, culture has a lavish system of language and gesture to channel and express negative emotion. Rousseauists who take the Utopian view of personality are always distressed or depressed over world outbreaks of violence and anarchy. But because, as a Sadean, I believe history is in nature and of it, I tend to be far more cheerful and optimistic than my liberal friends. Despite crime’s omnipresence, things work in society, because biology compels it. Order eventually restores itself, by psychic equilibrium. Films like Seven Samurai (1954) and Two Women (1961) accurately show the breakdown of social controls as a regression to animal-like squalor.

Possibly the most compelling reason for use of the expressive arts in trauma work is the sensory nature of the arts themselves; their qualities involve visual, tactile, olfactory, auditory, vestibular, and proprioceptive experiences.

I am not all knowing. Therefore, I will not even attempt to be. I need to be loved. Therefore, I will be open to loving children. I want to be more accepting of the child in me. Therefore, I will with wonder and awe allow children to illuminate my world. I know so little about the complex intricacies of childhood. Therefore, I will allow children to teach me. I learn my best from and am impacted most by my personal struggles. Therefore, I will join with children in their struggles. I sometimes need a refuge. Therefore, I will provide a refuge for children. I like it when I am fully accepted for the person I am. Therefore, I will strive to experience and appreciate the person of the child. I make mistakes. They are a declaration of the way I am - human and fallible. Therefore, I will be tolerant of the humanness of children. I react with emotional internalization and expression to my world of reality. Therefore, I will relinquish the grasp I have on reality and try to enter the world as experienced by the child. It feels good to be an authority, to provide answers. Therefore, I will need to work hard to protect children from me! I am more fully me when I feel safe. Therefore I will be consistent in my interactions with children. I am the only person who can live my life. Therefore, I will not attempt to rule a child's life. I have learned most of what I know from experiencing. Therefore, I will allow children to experience. The hope I experience and the will to live come from within me. Therefore, I will recognize and confirm the child's will and selfhood. I cannot make children's hurts and fears and frustrations and disappointments go away. Therefore, I will soften the blow. I experience fear when I am vulnerable. Therefore, I will with kindness, gentleness, and tenderness touch the inner world of the vulnerable child. - Principles for Relationships with Children

This doesn’t mean that we should be sad, or go deaf, even if once a century these conditions produce sublime music. Nor must we be great artists in order to view our own struggles as objects of creative transformation. What if we simply took whatever pain we couldn’t get rid of, and turned it into something else? We could write, act, study, cook, dance, compose, do improv, dream up a new business, decorate our kitchens; there are hundreds of things we could do, and whether we do them “well,” or with distinction, is beside the point. This is why “arts therapy”—in which people express and process their troubles by making art—can be so effective, even if its practitioners don’t exhibit their work on gallery walls.

Life is going on, but there is no drama, no expectation of an outcome, no sense of getting anywhere. Rather than this being a condition of boredom or frustration, though, it feels exactly right. It is tranquil but not tired. It is immensely peaceful but not inert. In a strange way, the picture is filled with a sense of delight in existence expressed quietly. It is not the light in itself that is so attractive; rather, it is the condition of the soul it evinces. The picture captures a part of who one is – a part that isn’t particularly verbal. You could point to this image and say, ‘That’s what I’m like, sometimes; and I wish I were like that more often.’ It could be the beginning of an important friendship if somebody else understood this too.

the human spirit is resilient and can be expressed and healed through imagination.

healing-centered engagement moves the pendulum toward a focus on strengthening what supports well-being (hope, imagination, trust, aspirations) inclusive of social justice issues and intersectionality. In brief, it shifts the perspective from “what happened to you” to “what’s resilient about you.

Most people think their childhood was happy till they sit down in a room with abstract art on the wall in front of them a clipboard and behind that clipboard a person with a blank expression.

Art therapy encourages individuals to express and understand emotions, resolve issues and improve self-awareness. To express one’s self artistically can aid in the healing process by surfacing meaning. Through art there is an opportunity to connect with the unconscious which can foster increased self-awareness. Through this connection lived experience can be explored, including both positive and negative effects enabling the opportunity for healing.

The artist is the master of his universe, often choosing his own themes, colors, shapes, materials, and images. The art therapist encourages individuals not to judge themselves, to let their work flow. Participants learn that self-expression becomes the most important aspect of creative work. The art doesn’t have to be perfect; each person’s designs are unique. The concept, that we are allowed to experiment and make mistakes, is crucial in the development of self-esteem. When individuals acknowledge that they don’t have to be perfect, they are better able to accept their perceived flaws and “themselves as a whole.” They are often able to identify and focus on strengths instead of weaknesses.

Physical or emotional pain can be eased in the melodic line of a song. Intense feelings can begin to be expressed by playing or listening to a poignant song. Aldous Huxley (1931) noted, “After silence that which comes nearest to expressing the inexpressible is music” (p. 17).

This open organization fosters and encourages accountability and transformation, as the activity is based on personal interests. Moreover, as a result of such a conscious setting, there will be a diversity of artworks and expressions and a context much more conducive to acceptance and empathy toward

Sand tray can be an embodied conversation between our inner world and outer awareness, held and witnessed by another. Because of the tactile experiences of the sand and minatures and the symbolic nature of the figures, we have the opportunity to make contact with implicit memories that have no words. We follow our body's guidance in arranging the sand and allowing the minatures to choose us. It is a right-centric process that allows us to let go of meaning-making in favor of following our felt sense and behavioral impulse. Meaning may arrive later, but we at least begin, as best we can, without expectation to give our inner world the most freedom we can.

It is the integrative synergy of the arts, based on cultural traditions and current trauma-informed practice, that is requisite to addressing traumatic stress with most children, adults, families, groups, and communities.