Memorandum Of
Understanding
PAGES
2-3
CTAA on FaceBook
Light, colour, friendly faces –
these welcomed me on Saturday
afternoon at the Depot in Devonport
at the opening of Inner Nature: Arts
Therapists as Artists on the 9th of
June.
“The practice of what we preach” reads
the introduction to this exhibition
by six arts therapists who use
diverse media to express something
of their personal stories : organic
earthenware by Catherine Spence;
dreamy, arresting photography by
Agnes Sigley; delicate decoupage by
Morgan Libeau; tender and vibrant
acrylic work by Carrie Skeen
and Maureen Woodcock;
and a range of prints and
earthenware works from
stark to playful by Sara Smallman. A special favourite
of mine was Sara’s bowed and burdened figure “Stuck”
surrounded by the many tiny pairs of bright shoes of the
twelve dancing princesses.
I loved seeing art therapists sharing their work with the
public in this way. For me, a deep, spiritual thread ran
through the works in various forms. There was a feeling
of six individuals allowing the art to shed its light on their
experiences, and also of an arts therapy community sharing
the gift of this process with the viewer in a very gentle way.
I’ve been looking forward to this exhibition since Carrie first
mentioned the idea and it was exciting to get to the opening
and see it actualised and packed full of such absorbing
works. Congratulations Carrie and Co!!
Nicola McMeikan
PAGE 4
Upcoming
Workshops
P A G E S 7 - 10
What’s On Column
PAGE 16
Carrie Skeen and
‘At Peace’
development portfolios. Since its inception CTAA
has organised six conferences in different parts
of the country, and has joined with ANZATA in
symposia in Auckland.
CTAA was founded in 1995, following a
conference in Hamilton, initiated by Marnie de
CTAA members were instrumental in setting
Wolf, to bring together interested people who
up the training programme at Whitecliffe
were working therapeutically with the arts. At
College. CTAA has worked with other
that time there was no training programme for arts
professions over the past eight years to
therapists in New Zealand, and no way of knowing
move towards registration under the
how people might be working in different parts
HPCA Act, (unfortunately this is again
of New Zealand. A
constitution
was
developed
and
CTAA subsequently
became
an
incorporated
society.
The
constitution allows
for different levels
of
membership,
including
criteria
for
identifying
fully trained arts
on hold while the current government
therapists. However, a decision was made to
carries out a review of the working of the
allow open membership, and this is still in
Act).
operation. This means that, for a small fee,
anyone interested, trained, thinking of
On June 9th 2012, CTAA entered into a
training, or wanting to experience working
Memorandum of Understanding with ANZATA, to
therapeutically with the arts, can join
share functions of promoting the arts therapies
CTAA and remain a member on payment
professions in New Zealand and in providing
of an annual fee.
professional development opportunities for arts
therapists. Both organisations retain their separate
Open membership has many positive
functions, but have a goodwill agreement to coadvantages. There are monthly
operate, where possible, for the development of the
workshops held in Auckland, and
profession and for support for individual members.
occasional workshops in other regions
where there are CTAA regional reps.
Caroline Miller
There is a website for information
and a bi-annual newsletter. CTAA
puts people in touch for networking
and other contacts which might lead
to work. CTAA welcomes arts therapists
who are new to New Zealand, and offers
them opportunities to meet others.
People who think they might like to train
as arts therapists can have experience of
arts therapies by attending workshops.
Last month all CTAA members were sent a draft
The workshops provide certificates which
copy of a Memorandum of Understanding
therapists can use in their professional
with the opportunity to feed back any views
Memorandum of
Understanding
between CTAA and
ANZATA
on this proposed liaison. Subsequently,
CTAA and ANZATA had a further meeting to
look in greater detail at the areas of possible
liaison, and how these might work. These are
numbered below.
1. Reduced fees for dual membership of CTAA
and ANZATA
events and presentations. ANZATA has a fund
to help new regional groups to become
established. ANZATA has a fund for presenters
to apply to for support for presentations they
make. CTAA is able to provide some financial
support for local events. CTAA has reps in
the following areasDunedin-Rose Stanton
This had already been agreed, but has proved
difficult for ANZATA to administer. Currently it is a
discount of $10 for CTAA (off $60), and $15 for ANZATA
(off $325). The procedure will now be as follows-
Wellington- Serena Stace
Waikato-Maree Brogden
Taranaki-Connor Kelly
Members with dual membership will pay CTAA $60$10-$15 when they renew their annual membership
with CTAA, and will pay the full fee when registering
with ANZATA. ANZATA will then reimburse CTAA in
a lump sum for the discounts made on behalf of
ANZATA.
2. Communication.
At least one representative from each organisation
regularly in touch.
Agnes and Lydia for CTAA, and Janet and Maree
& Mariana for ANZATA
3. Sharing newsletters
Mariana and Amanda will liaise about
this to make newsletters from each
organisation available to members of
the other.
4. Share public promotion of arts
therapies
CTAA and ANZATA will distribute
copies of each other’s leaflets at
presentations or workshops. ANZATA
has PR material, such as PowerPoint
templates, which is available in the
members’ section of the ANZATA
website. CTAA could have access to
this through dual members and can
use this in promotional presentations.
ANZATA has divided regions slightly
differently, and has reps in South
(Christchurch & Dunedin) and North
(Wellington, Auckland, Waikato). If
anyone would like to be a representative
in any of these areas please let Lydia
know, so you can make contact with the
ANZATA representative.
Regional Reps need to be supported by a
specific named person in each organisation.
For CTAA this will be Lydia.
([email protected])
6. Auckland workshops
We have agreed to co-operate in these in various
ways, e.g. publicise them jointly, have certificates
which recognise the co-operative nature of the
venture, and attendance at each other’s events. The
certificates will have the logo of both organisations.
The heading will be whichever organisation is running
the workshop plus ‘in association with the other
organisation’. Both organisations will share information
about any international presenters who are visiting,
and consider the possibility of that person running an
additional workshop while in NZ.
ANZATA ran one workshop last year, and has another
planned for June 9th this year. The topic is Group
Facilitation and the presenter is Suzanne Vesty of
Spark Studio. CTAA members are invited to be part
of this. The plan is for 3.5 hours, with the first
5. Regional Representatives.
half hour being a presentation from ANZATA and
Regional representatives will be paired with a
CTAA, sharing information with members; then
view to developing ongoing communication,
the group facilitation will follow, with a break
support, and possible organisation of local
for networking and mingling. The venue is
Whitecliffe College. The proposed cost would be the same as CTAA events $30 for non-members, $20
for members. The Memorandum could be signed on that day.
7. Meeting in Melbourne 13-14 July Birds of a Feather
In Australia a number of groups are looking at forming a similar co-operative agreement with ANZATA
and with arts therapists in Singapore, with the aim of finding common ground and dialogue. This
has resulted in the joint planning of an event (Birds of a Feather) to bring together members of the
various bodies involved so that we can apply our creativity in collaboration across organisations
and arts modalities. This will be an opportunity to work at a high level of creativity and innovation
and allow us to share practice ideas, explore inter-organisation co-operation, and hopefully, work
towards developing a more united voice for the advocacy of the profession. The organisations that
have registered interest to date are: the Australia and New Zealand Arts Therapy Association(ANZATA).
Australian Creative Arts Therapy Association (ACATA), Dance Therapy Association of Australia (DTAA),
Music Therapy Association, Latrobe University Art Therapy Department, Phoenix Institute and
MIECAT.
The Birds of a Feather summit allows for up to twelve members of each of the organisations involved
to attend, and ANZATA is inviting two representatives from CTAA to attend as part of ANZATA’s twelve
places.
Caroline Miller
I have recently set up two different types of
Facebook pages for the Creative Therapies
Association of Aotearoa.
Here is a link to the CTAA fan page to
promote the regular workshop activities.
https://www.facebook.com/pages/
Creative-Therapies-Association-ofAotearoa-CTAA/305884476152677
By posting events on Facebook we help
to promote them further. We could also set
up Event pages for people to accept thereby
confirming their intention to attend and this
would also remain on their Facebook events
calendar reminding them to come along. Further,
when we have had our pages for a while they will
serve to offer a history of the activities we promote
and in effect encourage people to join us.
The second type of Facebook page
Jacqueline Brand-Holt
I have set up is a CTAA group page.
This one functions quite differently.
This page will be similar to the
fan page but more conducive to
collaborative content - sharing
information. Everyone can post on its
wall and share information with equal
emphasis. This works in a way that
generates a lot more material as the
group grows, however, members won’t
automatically see the activities or posts.
They will choose to visit the page when
they want to see its content
A big welcome to Jacqueline as CTAA’s newly
https://www.facebook.com/groups/277609562329363
appointed Treasurer
Arts Therapy
Assessment
Research Project
Five-Point-Star Assessment Research Project
was launched in New Zealand and Australia
on 19 March 2012, after gaining ethics approval
from Northern Multi Regional Ethics Committee, a
branch of the Health and Disability Commission.
The opportunity was extended to include arts
therapists in Britain through the British Association
of Art Therapy and was met with strong interest
from their research network and arts therapists
who are also seeking relevant outcome measures.
It is encouraging that we have now contracted
participants in three countries.
measurable progress of clients who have diverse
physical challenges, and who require a broad
spectrum of approaches in order to meet with
individualised arts therapy goals.
The focus of the assessment process is one
of acknowledging the unique strengths
of the client in her/his processes, and of
holding a vision for potential growth and
development within five domains. The
methodology can be applied within a
series of sessions in both individual
arts therapy and intermodal groups.
For further information, please contact
Marion Gordon-Flower, AThR via email:
[email protected]
Self-Definition
through
Digital Means
Arts therapists will have the opportunity to explore
an assessment tool within practice and contribute
towards research, which will test validity,
responsiveness and reliability towards evidence
based practice. The requirement will be that of
Digital media is proving increasingly
applying the assessment tool in practice with
significant in the arts therapeutic journeys for
one client and providing formatted feedback
people who attend IRIS Rehabilitation. Initially,
to the researcher about the functioning of
most participants begin their engagement in arts
the assessment document and process.
therapy with individual sessions, whereby they
The model and tool will be available to
establish their own modes of working through
participants for full use in practice at
personal issues. This takes place on a continuum
the end of the project.
from “art as therapy” to “art as an adjunct to therapy”
(Hogan, p 29, 2009) and beyond. After a course of
Arts Therapy Five-Point-Star Model
individual sessions, there tends to be a natural
was first developed within a
transition into an arts therapy group to gain greater
community house with arts therapy
social benefits.
groups, as a means of visually
explaining five potential areas of
One of the groups of 2011 was “Portraits, Symbols and
therapeutic engagement, personal
Identity”, which combined photography, painting,
growth and healing through the
computer and sculpture. Participants experimented
sessions. It has been established as
with symbolic objects in relationship to body posture
an equally applicable approach within
and with attitudes towards the camera. Selected
a disability context where Person
photographs were further developed through overCentred Plan (PCP) Assessment and Goals
painting, computer and photocopy methods to
are the key means to providing services.
arrive at self images that resonated. Sculptures
The assessment tool has been developed
further extended the notion of objects as symbols
and refined over a two year period at
of identity. The exploration culminated in a
IRIS Rehabilitation within the health and
large installation piece, shown at both IRIS
disability sector in Auckland to document
events and the Interact Arts Festival, in
which the newly created self-images were
put into the public domain.
identified gaps in public perceptions and
decided how they want to define themselves
both individually and collectively, and
how they want to be viewed - that is, “as
empowered, capable people who can make
a real contribution”.
A new focus emerged for group members of
how they can ‘become who they want to be’
in practical terms, within a world where they
experience themselves as being marginalised and
viewed through a lens that has a limited scope.
An opportunity arose in response to their interests
through IRIS Innovations Forum. This came with
rigorous requirements of establishing an innovative
idea which would be sponsored, of developing a
project scope and of providing monthly progress
reports to the Senior Management Team.
WWP Practical Leadership group have risen to the
challenge in a project they have entitled “Educate
About Us By Us”, which will culminate in a series
of presentations to the health and disability sector,
other government agencies, and to the general
public in the second half of 2012. They have
With the project scope established and
approved, the first half of 2012 has
involved the development of powerpoint
presentations and an educational and
promotional package. This also includes
a DVD documenting the process of
development, which is now accessible
through You Tube:
http://www.
youtube.com/watch?v=UM2eylDiRVE
Hogan, S. (2009). The art therapy
continuum: A useful tool for envisaging
the diversity of practice in British art
therapy. International Journal of Art
therapy, 14(1); 29-37.
CTAA Creative Therapies Association of Aotearoa Presents:
Developmental Transformations
‘Embodied Encounters in the Playspace’
Angie Richardson presents David Read Johnson’s
Improvisational method of Dramatherapy
DvT is based on the premise that life is unstable and requires constant adaptation. Relationships are
sources of risk and challenges. DvT responds to this by being a diverging process that aims to increase
people’s tolerance to change and uncertainty which results in greater flexibility.
This method is suitable for most client populations, either group or one to one. Experiential
workshop will incorporate dramatherapy warm ups and then give participants a taste of DvT where
therapist and clients engage in continuous transforming play together in the dramatic playspace.
When: Saturday 21st July 2012
Time: 1-4pm
Where: The Kayak Room,
55 West End Rd, Westmere,
Cox’s Bay, Auckland
With: Angie Richardson, Dramatherapist
Authenticity Spontaneity Presence
Expression Playfulness Expansion
Cost: Members and unemployed
students - $20.00
Non Members - $30.00
To register for this workshop please contact
Gwen, evenings on 09 521 6080 (before 10pm)
or by email, [email protected]
( pre-registration is preferable but registration
will be accepted on the day)
Angie Richardson is a clinically trained and professionally registered arts therapist. She is an experienced and registered
primary school teacher. In partnership Angie ran a successful drama school in West Auckland in the 1980’s. She has had
some psychotherapy and counselling training. Currently she works part time doing dramatherapy with special needs
students at a school in West Auckland. She is also establishing a private practice using drama, art and sandtray therapy in
central Auckland with a focus on children/teens and people with chronic illness. Angie has a passion for dramatic
improvisation and is looking at avenues to utilise this as a therapeutic modality.
For venue map http://www.zenbu.co.nz/entry/1181424-hauraki-kayak-group
!
Coming to our senses
Title inspired by a book by Jon Kabat-Zinn
!
These workshops will focus on the experience
of the present moment through mindfulness
meditation, sensory and creative exercises
using a model of integrative therapy. The aim
of this series of workshops is to give you
access your own resource, inner-strength and
peace, at any time.
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Every other Thursday, from 7 to 9 pm. Starting the 19 July 2012
Youthline house - 13 Maidstone Street - Ponsonby
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The DRUMBEAT workshop will be a chance
for interested practitioners to have an
experience of using music as a medium
for therapeutic healing. The workshop
will largely be experiential with the
group experiencing how drumming can be used to explore themes of Rhythm,
Harmony, Relationships, Feelings, Identity and Teamwork. No drumming or
musical experience necessary.
AMBER DAVIES
B.A., Graduate Diploma in Psychosocial Studies, Masters of Health Science in
Psychotherapy (Hons), Certificate in Professional Supervision
Professional Membership: Psychotherapists Board of Aotearoa New Zealand.
Amber has worked at Youthline since 2004 in a number of roles including
volunteer helpline operator, community helpline operator, researcher, youth
development worker, group facilitator and more recently Specialty Assessment
Services Team Leader. Amber is passionate about building strong communities
and working alongside people to achieve their dreams. Amber specialises
in working with adolescents and adults in the areas of: depression, anxiety,
mental health, trauma and transitions.
Date: Sat 25th August 2012
Time: 10 a.m. – 12 noon
Venue: Waitakere Room, Youthline House, 13 Maidstone Street, Ponsonby,
Auckland
Cost: $20 (members and unemployed students); $30 (non members)
(Maximum 11 participants)
As numbers are limited to 11 participants please register for this workshop in
advance by contacting Gwen evenings or weekends on 09 521 6080 (before 10
p.m.) or by e-mail [email protected]
The Dreaming Source of Creativity
Workshop with Lizzie Haylock
A process-oriented approach to dance values every unintentional movement, stumble or
even the slightest thing that catches our attention, as a creative seed that is beginning to
dream itself to life. Learning how to catch and unfold these fleeting experiences reveals
often radical insights about our life. If we become curious about these experiences, amplify
and penetrate them more deeply, we can bring them to birth in an artistic form and
discover insights about enriching our everyday reality.
In this workshop I propose to teach how to:
•
•
•
•
•
amplify subtle sensory experiences to notice something that is beginning to dream itself into life
assist in the unfolding of our unintentional creativity
recognise secondary movements (dreamlike communications which are mysterious and surprising)
unfold dream figures hiding within seed movements to reveal their gifts
connect with our deepest sentient wisdom
“Every time you ignore sentient, that is generally unrecognized, dreamlike perceptions,
something inside you goes into a mild form of shock because you have overlooked the
spirit of life, your greatest potential power.” Arnold Mindell, founder of Process Oriented
Psychology
LIZZIE HAYLOCK
Lizzie Haylock BA (Hon), Director of Dreambody Dance, Cert. in Process-Oriented
Psychology, studied Central European Expressive Dance with Hilde Holger in London. A
dance teacher for over 26 years, she uses process-oriented creative movement to work
with groups and individuals in a variety of situations, from the corporate world to working
with psychiatric survivors, with the very young, the elderly, the dying and people with
disabilities. Lizzie especially loves to combine dance with creative play, meditation and
communion with nature.
Date Sat 15th September 2012
Time 1-4 p.m.
Place: The Kayak Room, 55 West End Road, Coxs Bay, Auckland
Cost: $20 (members & unemployed students)
$30 (non-members)
To register for this workshop please contact Gwen evenings or weekends on 09 521
6080 (before 10 p.m.) or by e-mail [email protected] (Pre-registration is preferable but
registrations will be accepted on the day). For venue map please go to http://www.zenbu.
co.nz/entry/1181424-hauraki-kayak-group
Josie Scott MA, MNZAC
Baylys Beach, Northland
Josie works as a Creative Arts Therapist, Counsellor,
Supervisor and Trainer. She offers counsellors/therapists
the opportunity to recharge, realise their creative
potential and add new techniques to their toolkit in the
unique setting of Baylys Beach.
2nd & 3rd November 2012: Introduction to
Sandplay Therapy.
Cost per person is $325 which includes 2 nights’
accommodation (Thursday/Friday) at the beach.
Workshop numbers are limited to 6 participants.
Creative Arts Therapy (also known as Expressive
Therapies) offers a multi modal approach using Visual
Arts, Dramatherapy, Music, Creative Writing, Storytelling,
Movement and Sandplay. Josie has conducted training
programs in Sandplay Therapy and Creative Arts Therapy
in Australia, England and New Zealand for over fourteen
years.
Contact Josie directly for more information on:
021 0223 8621, [email protected] or check out her website
www.josiescott.org
Coming to our senses
workshop
was led with my eyes closed, the situation was
at first very strange and somewhat stressful. I
walked in the street, I had to give up control
and give it to a partner who I wasn’t familiar
with. My partner was amazing. I felt I could
trust her and Agnès’ instructions. The
voices around me were the focus of my
attention (cars, people etc.). I learned to
relax and enjoy the situation.
(Title inspired by a book by Jon Kabat-Zinn)
Facilitator: Agnes Sigley. Agnes holds a Post
Graduate Diploma in Health Science (Expressive
Therapies) from AUT and a BA in Communications
(France).
Agnes’ workshops focus on the experience of the
present moment through mindfulness meditation,
sensory and creative exercises using a model of
integrative therapy.
I was delighted to participate in the “Coming to
our senses” workshop, by Agnès Sigley. It was a
very unique and liberating experience.
After we switched and I had to lead,
the responsibility was on me. Taking
responsibility and control is familiar
to me, so I felt comfortable in this
situation.
At the end, we shared with each other
our feelings and our experiences,
which were similar.
Thank you Agnès for a special and
interesting workshop!
Limor Fybish
Art Therapist.
At the beginning, I was asked to relax, close
my eyes and listen to the guiding and
confident voice of Agnès.
I started a journey where I was aware of
the here and now of myself, my body
and my surroundings. At first, it was
a little hard to let go, but later the
attention to the exercise was pleasant.
The creative work which followed
allowed me to express my feelings
and thoughts following the process,
using art materials. For me, the work
of art put together the internal and
the external senses into one creation,
and the feeling was good.
On a beautiful and sunny afternoon six of us
met with Agnes to take part in her workshop
on mindfulness. It was great to see one familiar
face and four new ones in the group. After
initial introductions Agnes told us about some
of the theoretical and developmental aspects of
mindfulness which has grown from a Buddhist
meditation base. She then guided us through some
basic exercises to stimulate our senses and to help us
to bring full awareness to where we were and how to
focus on our breath. This was an awakening, but was
also relaxing.
After that warm-up we formed pairs to go out into the
world! One member of the pair was a guide and the
other was blindfolded and led by their guide. Our
route took us out onto the street, around the corner
We were told at the beginning of the
and across busy Ponsonby Road, then into a park
workshop that we would also work in
which sloped sharply down. Crossing the road
pairs in the park outside. I was surprised
was a challenge for all of us, not least because
to discover that the experience was to be
all hoped we were not being observed by
with our eyes covered. One person was the
anyone we knew! The blindfolded people paid
leader and served as eyes to the other who
attention to our walking, and to parts of the
was being led, and then we switched. When I
park our partners drew us to. This involved
Creative Supervision:
bringing your work
to life
checking various textures - grass, tree
trunks and bark, different leaves, acorns,
the warmth of the sun on a concrete wall,
water in a drinking fountain were some of
these. This was a quite different relationship
to the environment from our usual one of taking
in things with our eyes and being focussed on
our next destination. Again this was a calming and
slowing activity, and there were many expressions of
surprise and delight at the things we encountered.
We each found some reflections on our individual
personalities and dominant ways of meeting the
world.
Facilitator: Beth St Claire. BA Psych;
Grad. Dip. Teaching; Cert. Dramatherapy
(UK); Grad. Dip. Psychotherapy; Master
Health Science; Post Grad. Cert.
Professional Supervision; Registered
Psychotherapist PBANZ.
Having listened to CDs of mindfulness meditation,
I appreciated the chance to work with a group. We
all supported each other, and willingly shared our
experiences. The voice of the guide was a reassuring
prompt which helped keep focus. It was an enjoyable,
fun, and relaxing afternoon. Agnes has suggested
meeting as a group from time to time, and I can
recommend the experience if that is offered.
Caroline Miller
I thoroughly enjoyed the Coming to Our
Senses workshop. I am new to Art Therapy
and it was a beautiful introduction - a very
calm and welcoming environment.
I must say, the idea of walking
blindfolded through a park was quite
a challenge at first, but once we were
out in the fresh air it slowly evolved
from a slightly unnerving escapade
to a delightful, sensory adventure.
I felt that a strong thread of trust
was woven within the group, and
afterwards there was a feeling of
lightness and a childlike energy in the
group - as if we were exploring and
seeing the world through new eyes.
Shyla Kelly
Beth has a real interest in Supervision
and is keen to promote quality
Supervision processes through her
workshops.
Very early in the workshop one
participant asked the question, “Is
this workshop for those who wish to
supervise other professionals or is this
for those who need supervision or is this
about supervising clients?” Beth proclaimed
it could be any of these things; it was mostly
what we the participants wanted it to be.
After a brainstorming warm-up, where each of us
wrote our ideas on “what supervision is”, “what
supervision needs” and “how supervision feels”, we
began with a “check in”. Funnily this was heard as
a “chicken” - an imagined soft toy chicken, which
turned out to be a soft toy monkey that Beth had in
her hand to serve as our “talking stick”.
From a large mountain of assorted hats we were asked
to select two hats, one for our work persona and
another for our life persona. Immediately this led to
a difference in how I experienced this workshop in
relation to other workshops I have attended through
the CTAA because I was present as both my work
persona and my life persona. Usually I come to these
workshops and experience them in the frame of
being a participant, with a view that the facilitator
is modelling the work persona.
I believe that something special happened in
this workshop - something about peer support
involved in a one to one supervision and she also
offered a loose framework of how supervision
delves into the layers affecting practice. I was
unsure before I arrived about how it may be
for me (a recent graduate and unemployed
creative expressive therapist) to attend
Beth’s workshop on Creative Supervision.
It was just right.
Beth included a variety of media and
objects in the workshop; thus the whole
of the experience really was a creative
therapeutic process - a joy to play
and participate in. Thank you all who
attended for what was an encouraging
day for both my hats.
Jacqueline Brand-Holt
and forming bonds as practitioners - precisely
because we were invited to participate as work
practitioners.
As professional development goes we may
not think about peer relationships as much
as we think about supervision. Of course
we do have a lot of peer friendships
among us: as creative-expressive
therapists we form a specialised
community in New Zealand. The
dialogue in this workshop touched
on ways we as peers could support
each other. One example is in
more experienced practitioners
developing their supervision skills.
Another example is in talking and
sharing about our personal practice,
experience and aspirations. At the
end of the workshop we discussed
the possibilities of forming an ongoing
support group for ourselves in the near
future.
Interactive Drawing
Therapy
On March this year I attended an IDT Part 2
course. To my pleasant surprise, the facilitator was
Mary Brownlow who was one of the founders of
CTAA. I was quite intrigued, as I know IDT is different
than traditional Art Therapy yet more and more Art
Therapists are getting themselves familiar with this
technique and learning how to include this special
tool in their practices. Why? Because it works!
IDT (Interactive Drawing Therapy) was invented here in
New Zealand around 20 years ago by Russell Withers
who found a way of working with clients, using
drawing and writing on pages, for both assessment
and therapeutic intervention. The IDT is now used
intensively not only by thousands of New Zealand
and Australian professionals but it is also becoming
widely spread in other countries around the
globe.
Beth’s workshop included useful conceptual
theory about the multiple extra relationships
I am fascinated by IDT and appreciate what a
clever technique it is. It uses a link between
the verbal and the visual, the
left and the right brain, words
and images, conscious and
unconscious material that through the careful attention
paid to the process - alternate
on the paper, quickly revealing
deep underlying issues of the
client and allowing the therapist
to immediately work with them.
Although it uses drawing, no
artistic skills whatsoever are
needed; basic sketches are just
as efficient for this work and are
non-threatening and satisfying
for the clients to make. This
“IDT imagery is about therapeutic
client-centred technique generates insights that have
engagement - not illustration”
the potential to create significant shifts in a relatively
short time.
Mary, with her quiet and thorough manner of
teaching, led us through the stages of the Part
2 course (that extends on the instrumental Part
1 course, where we were introduced to the
technique and learned how to use it effectively),
and provided us with a better understanding
of the logic behind this method, how and
why it works, what the constructs are and
how it is best applied with different client
groups.
Facilitator: Suzanne Vesty. Dip. Drama; Grad.
IDT has developed a lot through the years
Dip. Tchg; MFA; M.App. Sci. SE (Distinction); Reg.
and is now offering many levels of high
Celebrant; Civil Union Celebrant; AThR, ANZATA
quality training courses that are intense
An introduction to
the arts of group
facilitation
and engaging yet wisely designed to
be simple and easy to master. Most
courses are structured as two full
days of learning and exercising in a
group, then individually reviewing
the course material using the clear
and encompassing handbook, and
writing a few short assignments to
be assessed via email. The courses are
aimed at professional counsellors and
social workers and are very effective in
providing a working module that can
be easily applied in various clinical and
educational settings.
Edna Heled
Suzanne’s workshop provided an introductory
experiential inquiry into our awareness and
understanding of the group arts therapy process
and artful facilitation.
This was the first workshop organised by ANZATA,
in conjunction with CTAA, following the lengthy
discussion between the two organisations which led to
the drafting up of a Memorandum of Understanding
about how we might work together.
In the workshop we were led through a series
of activities and discussions inviting us to
consider ourselves and our work as therapists.
The process was reflective and the content
encouraged us to look deeply into the core
of our practice. We were invited to ask
Suzanne describes as being on the “edge” here
ourselves not just how we are being when
in New Zealand, her work with the arts as
we facilitate group work and what we are
therapy predates the formation of the CTAA in
doing to facilitate groups but also why would
1995 and the expansion of ANZATA to include
we facilitate groups - what motivates us to be
New Zealand in 2006. This workshop being
therapists and what purpose does the experience
run by Suzanne was a complement to
of facilitating serve for ourselves as facilitators. The
the significance of this MOU in that
workshop was very fluid. There was a comfortable
both happenings represent the more
flow from contemplation/discussion into process
meaningful connections being formed
and back to contemplation/discussion again. This
between our organisations as well as
workshop artfully encouraged us to be awake and
the individuals in the broad field of
conscious of our role as group facilitators.
Creative Art and Expressive Therapies.
Suzanne’s approach enabled us to
The workshop ended with the signing of the
look first at our own practice, and then
Memorandum of Understanding between CTAA and
at connections between us, and more
ANZATA. Suzanne Vesty was asked to sign as witness
widely within our communities.
to this agreement, including her in acknowledgement
of the work she has done with the creative arts in
Jacqueline Brand-Holt
personal development. As a pioneer, and what
Caroline Miller
Upcoming Event in October - Journey through the Labyrinth
Date: Saturday, 27th October
Time: 9 - 4 p.m. Venue to be advised
We are pleased to announce that Professor Pam Dunne will be returning to New Zealand
to present a new workshop incorporating Narradrama principles; mindfulness techniques;
scaffolding; outsider witnesses; definitional practices.
Journey through the Labyrinth in discovering your inner wisdom through drama therapy and
narradrama integrated with the creative arts and strength based work, aimed at opening
the heart, and restoring life balance. Centered in mindfulness, action and externalizing
techniques, participants will embark on a journey by creating their own personal labyrinth and
transformational stories, in which they return with new awareness. In so doing, participants
will explore mandalas, masks, narradrama action techniques, ritual, definitional ceremonies
and outsider witness practices.
DARE-2-HOPE
A new, lively, provocative, multicultural suicide prevention play in
the Greater Wellington Region.
Pilot performances for adults working with 15-25 age range
For more details contact Shona McNeil, Pure Mental Health
Theatre – using the arts to make a difference. Mob. 0220903653
[email protected]
Creativity for Well-Being Workshops
These are monthly interactive workshops held in Auckland and led
by Registered Arts Therapit Janet McLeod, combining the principles
of positive psychology and mindfulness with creative strategies
for enhancing happiness and well-being. No artistic experience is
necessary. Workshops are held on the last weekend of each month and
two time options are available - Sundays 1-4.30 pm or Mondays 5.45
- 9.15 pm. Cost: $48 all materials supplied. For more information
contact Janet 0275964586 [email protected]
CTAA Steering Committee
Robin Barnary, Jacqueline Brand-Holt, Edna Heled, Gwen
Mann, Nicola McMeikan, Beth St. Claire, Agnes Sigley
Chair: Beth St. Claire
Secretary: Gwen Mann
Treasurer: Jacqueline Brand-Holt
Workshop Co-ordinators: Edna Heled, Agnes Sigley
Library: Carrie Skeen*, Lydia Pask*
Newsletter: Nicola McMeikan, Mariana Torkington*
Liaison with HPCA: Caroline Miller*
Registration Working Party: Caroline Miller,* Lydia Pask*
(* Associated Members of the Steering Committee)
Regional Representatives:
Maree Brogden - Waikato - marichen@xtra co.nz
Serena Stace - Wellington - [email protected]
Mobile 027 3534120
E Connor Kelly - Taranaki - [email protected]
Phone 06 769 5661
Rose Stanton - Dunedin - [email protected]
Phone 03 473 8083