Individuals engage, invest, and grow when they feel safe, seen, and included (Beach, 2022). Client encounters with the work of BIPOC artists can help them conceptualize themselves as artists themselves; seeing themselves in the work of BIPOC artists counters historically and systematically edited, whitewashed narratives with colorful, inclusive stories and images. The canvases, sculptures, and installations of BIPOC artists invite viewers to become a part of powerful, even empowering, dialogue.

New Jersey artist Bisa Butler’s vibrant, larger-than-life quilted portraits are celebrated by viewers around the world. She described her work as sewing the Black diaspora together within a quilt (Tong & Jihad, 2023). Butler’s work features portraits of “everyday heroes” from her community. Her canvases showcase the bright jewel tones, vibrant patterns, African fabrics, Dutch African wax cloth, and silks and lace from her life. Her radiant images lift and reimagine Black life and celebrate the people she sees as “courageous, brave or beautiful (Robinson, 2023, para 4). She witnesses the extraordinary in her subjects’ presence, love, and relationships, and through her art, she ensures others see their dignity and beauty as well (Corley, 2023).

The presenters will introduce Bisa Butler’s larger-than-life portrait quilts which center and celebrate everyday heroes. Workshop participants will be invited to recognize the extraordinary and the precious in human connection, and to create portraits of the everyday heroes in their own lives and communities. Rather than sewing, participants will use collage techniques to assemble decorative, patterned papers and vibrant fabric, as well as found items and tiny treasures. Like Butler, participants may find special meaning in patterns, colors, fabrics, and findings that carry personal associations (Cherry & Wolf Bordonaro, in press). The Workshop will culminate with opportunities for participants to introduce the everyday kings and queens in their lives and neighborhoods and to share their stories. “Next step” and adaptation ideas will be shared with participants. For example, intergenerational knowledge portrayed in the portraits can be explored through family and community traditions; participants will be encouraged to interview the carriers and interpreters of
that knowledge.

A snow globe presents a paradox: a delicate yet enduring sphere encapsulating a universe in motion. It is simultaneously shaken and still, real and imaginary. This Workshop frames the creation of snow globes as an exercise in queer worldmaking—an art-based culturally responsive art therapy experiential for surviving the many crises of our times. Through personal reflection and collective discussion, participants of all genders and sexualities are invited to explore how world-shaking events—political, environmental, and personal—demand creative responses, one of which we offer is the survival strategies of queer worldmaking.

Queer worldmaking is both a theoretical and embodied practice, rejecting dominant frameworks while envisioning expansive alternatives (Berlant & Warner, 1998; Muñoz, 1999; Van Den Berg & Anderson, 2023). Drawing on Lorde’s (2020) articulation of the erotic as a force of creation and transformation, this 2. Workshop examines the intersection of queer theory, art therapy, and survival. Lorde describes the erotic as “the personification of love in all its aspects—born of Chaos, and personifying creative power and harmony” (p. 43). This definition extends beyond desire to encompass the generative process of making, resisting, and reconfiguring. Similarly, the creative process emerges from uncertainty, existing in the space between what is and what can be. In moments of disruption, artists engage in the co-production of new forms, transforming rupture into possibility.

Queer theorists such as Halberstam (2011) offer tools for reimagining possibility, positioning failure as resistance, fluidity as strength, and camp humor as survival. While these worldmaking strategies are deeply rooted in LGBTQIA2S+ experiences, they have broader applications for navigating contemporary conditions of despair, fear, and oppression for all people (Bird et al., 2024). As fractures in dominant structures widen, more people—across differences and privileges—find themselves in closer proximity to the precarity of the present. This reality invites art therapists, educators, and mental health professionals to engage with the wisdom and insights of queer worldmaking not as a theoretical exercise but as a survival strategy that is time tested.

This Workshop invites participants to craft their own snow globes. Through this tactile, embodied process, we will explore how the physical act of shaking and settling mirrors the processes of emotional regulation and trauma, as understood through a polyvagal framework (Haeyen, 2024). Shaking a snow globe reveals that turbulence is temporary, movement does not equate to collapse, and elements inevitably find new equilibrium. Within a therapeutic context, this practice becomes a modality for holding uncertainty, reclaiming creative agency, finding pleasure in chaos, and recognizing reconfiguration as a generative force of worldmaking (Adler & Schwaba, 2024; Ellis & Wieling, 2024).

Participants will engage in a hands-on process of designing and assembling their own snow globes using found objects and mixed media. Reflective prompts will encourage us to consider how chaos, creative power, and harmony may appear in their own lives and creative practices, as well as how we are informed through our socio-cultural experiences, identities, and beliefs. The session will culminate in a dialogue to harvest practical applications of this method for reflexivity and self-care, individual and group therapy, and community social justice-informed interventions.

At a time of rising authoritarianism (Bar-Tal & Magal, 2021; Kellner, 2025), anti-immigration rhetoric and racialized violence (Campani et al., 2022; Torres, 2024), restrictive legislation limiting access to gender-affirming and reproductive health care (Alstott et al., 2024; McKetta et al., 2024), and the ongoing climate crisis (Iskafi, 2024; Nie et al., 2024; Shomuyiwa & Lucero-Prisno, 2025), among other compounding global crises (Lass-Hennemann et al., 2024; Zeira, 2022), This Workshop offers an artist-centered approach to processing systemic upheaval, fostering collective healing, and expanding the possibilities of art therapy. By integrating queer worldmaking methodologies into therapeutic and creative practices, participants will engage in a practice of care, resilience, and social transformation.

This Workshop is an invitation to witness the shaking of the world and, embracing the chaos, through reclaiming our creative power and harmony, to reimagine an alternative present and future.

Throughout history weaving textiles has provided space for communities to gather – especially individuals from marginalized groups (Barber, 1994). Examples of these community textile projects can be seen in the quilting bees generating the quilts of Gee’s Bend, the Freedom quilts, the Aids quilt, and the protest banners of the woman’s movement (Downey, 2024). More recently The Traveling
Loom, a community weaving project started to combat the aftereffects of COVID-19, helped to bridge connections in communities facing social, cultural,
political, religious, and socioeconomic issues in Michigan, by allowing participants to weave together their ideas with others in their communities and
beyond (Glinzak & Dunkelberger, 2023).

While many perceive weaving as women’s work the structure of the warp and weft lend themselves to a broader interpretation of gender balance. Just as in belly dancing, where the lower half of the body keeps the masculine energies of structure and rhythm and the upper half embodies the feminine energies of
creation and flow, the warp provides the base structure on which the flow of weft threads can move in and out creating expressive textures and colors.
Weaving provides an open invitation to cross gender lines and reconstruct supportive expressions of identity. There has been a movement towards more
inclusive support of gender identity fiber arts amongst social media influencers, like Zak Foster Quilts and Nick Cave. (Chaich & Oldham,2018).

In the community-based fiber studio, participants recognize positive connections to fiber arts, recalling family members who spun, knit, crocheted, wove, felted, and other fiber crafts. Traditional looms are often inaccessible to a wider audience given their cost, size, and complexity. Thinking outside the
traditional framework of weaving can lead to smaller, more portable looms constructed out of recycled or low-cost materials. Employing natural (Pike,
2021) and non-traditional materials (Jarchow, 2019) can allow for sharing the benefits of the kinesthetic experience of weaving and the rich vocabulary of
weaving vocabulary with clients and the community.

Art therapists are invited to build on the long history of fiber arts, employing the rich metaphors of weaving to support and enhance the healing of their clients and communities (Kapitan, 2011). As contemporary art therapists work to provide inclusive and accessible spaces for communities to gather, weaving
textiles can play an important part in healing and strengthening the fabric of community (Collier, 2011; Coller 2011a).

 This half day class explores the concepts of outsider art, personal narrative, and the intersection of art and memory. The class will begin with a screening of
the 2023 award winning documentary Nathan-ism, which captures the life and memories of Nathan Hilu, whose recollections span significant historical
milestones, including his role as a guard at the Nuremberg Trials. This experience fueled a lifetime of artistic inspiration for Hilu, who spent the next 70 years obsessively creating a visual narrative from his memories. Though he did not work with an art therapist, Hilu repeatedly described his process as
therapeutic. Indeed, his drawings became a type of narrative therapy to combat the vicarious trauma he experienced as a solider and guard; this exemplified
Gibson’s (2017) thesis on narrative therapy for vicarious trauma.

A self-proclaimed outsider artist, Hilu’s work and words embodied the need to create art for self-preservation and documentation, a concept previously explored by Hlavek (2022) and LeClerc (2011) . The film not only provides a unique personal perspective on historical events but also prompts deeper discussions about the reliability of memory and the ways in which personal and collective histories intertwine.

After viewing the film, participants will be led in a group discussion with insights from the film’s director, Elan Golod who developed a close relationship
with Hilu. They will then be invited to create their own visual narratives in response to Hilu’s work using a range of art materials. Participants will be encouraged to mix mediums and experiment with styles to find what is best suited for their narratives.

Hilu’s story is of relevance to art therapists as it touches on multiple areas of interest in art therapy theory and practice. His descriptive approach
exemplified Cohen’s (2017) assertation that the outsider artist’s unique style invites the viewer into the artist’s lived experience. In the documentary, 90
year old Hilu suggested that his commitment to drawing has helped him avoid dementia, which supports Lee, et al’s (2019) study that art therapy is useful in combating cognitive decline. The documentary is especially poignant in the current political climate as Hilu recounts, both verbally and artistically, the aftermath of a fascist regime.

Polarity Drawing (PD) is a full-body art process that draws on Polarity Therapy (Sills, 1989), Integral Somatic Psychology (ISP; Selvam, 2022), and Guided Drawing (GD; Elbrecht, 2018). The process involves self-touch followed by internal body-mapping with chalk and paint on a body-sized paper. The touch
promotes energetic flows based on chakras,elements, and various psychological needs. PD body-mapping borrows from the GD (Elbrecht, 2018) technique of
body-scanning followed by mapping the “felt sense” (Gendlin, 1978, p. 10) onto the page with eyes closed using both hands. It differs from GD because there is
no guidance given other than to sense the flow of energy generated by the self-touch or body-holding. Additionally, participants are encouraged to open
their eyes when they feel the ready. In GD the eyes are kept closed except to change materials. With PD, artists can negotiate between instinctual responsive
artmaking and visual/cognitive assessment.

The principle of Polarity Therapy (Sills, 1989): holding two points (or two poles) on the body through self-touch (e.g. the elbow and the wrist) – can create a flow of energy between those two points. Energy flow can include blood, oxygen, nerve impulses, lymphatic flow, and general energy flow. Polarity flows
require holding different parts of the body related to the chakras and related elements. Each chakra/element has a different set of hand positions and can promote various psycho-physiological states in the body.

The body zones (Selvam & Dennison, 2015) are as follows:

Throat chakra/Ether element – promotes spaciousness in the body
Heart chakra/Air element – promotes movement and connection in the body
Core chakra/Fire element – promotes power and insight in the body
Sacral chakra/Water element – promotes emotion and fluidity in the body
Root chakra/Earth element – promotes grounding and solidity in the body

In This Workshop, participants will experience each one of these polarity flows and then map that onto a body-sized paper using paint, pastel, and chalk. After
artmaking they will step back from their image and respond through movement, writing, or sound as a way to integrate the embodied insights that arise from
the process with each chakra.

Polarity methods are an aspect of ISP (Selvam, 2022) which uses self-touch and body holding methods to promote greater capacity for difficult emotion in the
body. The relationship between polarity methods, ISP, GD, and Somatic Experiencing (Levine, 2010) will be explained in relation to art therapy clinical practice.

 Mandalas are circular designs that have long been a source of inspiration for sages, artists, and native peoples. Through personal and clinical explorations,
Swiss psychiatrist Carl Jung revealed that mandalas have significant psychological and spiritual dimensions. Around 1938, Jung helped bring the
mandala to the West, and Western psychology, and encouraged expressive arts practices that help one develop a relationship with the unconscious (1973, 1980, 2009). He advocated that mandalas can be viewed as a message between the unconscious parts of self and that part of yourself you call “I.”

Art therapist Joan Kellogg built on Jung’s work by combining her study of Eastern religions and decades of clinical art therapy experience to develop The
Archetypal Stages of the Great Round of Mandala, or the Great Round (1982, 1997). Based on her study of thousands of mandalas made by art therapy clients,
Kellogg’s Great Round is a circle of twelve stages that encompass the cyclical nature of life, from beginning to end, and beginning again. She posited unique
qualities of consciousness for each stage of the Great Round, as well as differing feelings of self-awareness and abilities to process verbal communication. Additionally, each stage has typical mandala designs and colors that alert the practitioner to the functioning, needs, and diagnostic impressions of the person creating the mandala (Kellogg et al., 1997). Art
therapist (and co-presenter) Susanne Fincher (1991, 2009, 2010) has elaborated on Kellogg’s Great Round for over four decades, conceptualizing each stage as an active process and emphasizing the importance of creative self-expression as well as the inherent strengths and inner wisdom of the mandala creator.

In recent years, mandala research has resulted in a variety of positive outcomes. For example, researchers have found that creating mandalas from open circles can improve mood (Hartman & Campenni, 2022), while coloring mandalas can
lower anxiety (Jakobsson & Jakobsson, 2022) and have a beneficial effect on the immune systems of prostate cancer patients (Warson & Lorance, 2013). With growing interest in creating mandalas and related research in the field of art therapy and beyond, we believe it is imperative to advance art therapists’ understanding of mandala history, theory, and approaches to the creative process. This will support their developing and refining practices based on an understanding of the conscious and unconscious processes and needs of mandala
creators (clients and art therapists).

During this day-long Workshop, participants will be taken on an engaging, expressive arts-based journey through Jungian theory, Kellogg’s Stages of the
Great Round, and Fincher’s approach to Great Round mandalas (and art therapy). They will be invited to experience and experiment with advanced approaches for understanding and facilitating mandalas both in and out of session. Through
creating a series of mandalas in response to the Great Round, participants will also (re)connect with the deep, cyclical rhythms of nature, a practice that, in
our view, is essential to ongoing personal insight, healing, and growth (for the therapist and clients).

Drawing on Fincher’s approach for creating and understanding mandalas (1991, 2010), This Workshop will provide foundational knowledge and experiences as a basis for implementing a similar Great Round mandala practice. Such a mandala
practice can be used in art therapy with clients, as well as in the therapist’s own self-care.

First, each stage of the Great Round will be introduced by group facilitators. Common psychological experiences, developmental milestones, and mandala designs associated with each stage of the Great Round will be described, followed by reading of a stage-related poem. Participants will then be invited to create a personal mandala in response to stage-related information while listening to curated music selections developed by a Guided Imagery and Music practitioner.
Following mandala creation, participants will be given journaling prompts for reflection to support making meaning from their mandala and creative process.
Facilitated group discussion will enhance the insight and connection participants develop with their mandalas, the Great Round, and the natural
cyclical flow of all life processes.

 Women veterans face unique challenges when it comes to mental health, stemming from both their military service and the transition to civilian life. Studies show that women veterans are at higher risk for post-traumatic stress disorder (PTSD), depression, and military sexual trauma (MST) compared to their male counterparts (National Center for PTSD, 2021). Additionally, barriers to accessing mental health care, such as stigma, lack of gender-specific services, and difficulties navigating the VA system, can exacerbate these challenges (Washington et al., 2011). Research also indicates that social support, peer networks, and trauma-informed care are critical in addressing the mental health needs of women veterans (Kelly et al., 2022). Integrating mindful movement and art therapy can be particularly effective in addressing the unique mental health needs of women veterans. These approaches empower individuals by fostering self-expression, emotion regulation, and resilience.

In this practice course an eight week Mindful Movement and Art Therapy protocol for women veterans will be presented. This protocol was developed and introduced in 2022 and offered as a virtual group for women receiving services at the
Veterans Affairs of New Jersey Health Care System-East Orange (Whole Health Program). The protocol has since served 10 cohorts over the course of three
years and continues to offer a monthly drop-in art therapy group as an after-care option for participants. Art therapy provides a creative outlet for self-expression, healing, and emotional processing, which can be especially beneficial for those who struggle to verbalize their experiences. Art therapy also helps reduce PTSD symptoms by allowing veterans to process traumatic experiences in a non-verbal way (Gantt & Tinnin, 2009). Group art therapy, in
particular, fosters social connection and support, reducing feelings of isolation often experienced by veterans (Walker, L., et al., 2017). Mindful movement, inspired by trauma-sensitive yoga, has been widely recognized for its positive effects on mental health, particularly in trauma recovery. Studies indicate that mindfulness-based practices, such as trauma-sensitive yoga, help veterans reconnect with their bodies in a safe and controlled way, reducing
hyperarousal and dissociation (West et al., 2017).

The Mindful Movement and Art Therapy protocol for women veterans offers a structured, integrative practice that is replicable. The presentation will
outline the eight week protocol including mindful movement skills, intention setting and art directives. Participants will also be led through a Mindful
Movement and Art Therapy experiential. The protocol is a powerful tool that can transform the healing process for veterans, providing them with an avenue to express, cope, and reconnect with themselves and others.

This advanced practice will focus specifically on mass trauma community assessment, and a trauma therapy series devised with the direct supervision and support of Linda Chapman and Noah Hass-Cohen separately throughout 2013-2014. The sequence (safety & security, therapeutic relationship, secure remembrance, transformation/reframing, social connection, and relapse prevention/closure) aims to impart innovative significance to the developing practices of art therapy, trauma, and neuroscience (Chapman, 2014; Gantt & Tinnin, 2009; Hass-Cohen, et al., 2014; King, 2016). The training introduces effective therapeutic bilateral skills, evidence based art therapy and trauma protocols, self-care to manage vicarious trauma, in addition to an interwoven review of case vignettes.

Community leadership, and perceived availability of treatment are critical to long term community outcomes (Ursano, et al. 2007). The ongoing external
responses surrounding individuals and loved ones have a profound impact on their recovery from traumatic experiences. Given the ongoing stressors for young American children, and families in the current environment it is impactful to boost knowledge in trauma response preparedness, community wellness, and the impact art therapy may have locally. Children subjected to mass trauma regardless of national income or population indicate improvement with therapeutic interventions, uplifting functioning, and lessening symptoms of post traumatic stress (Pfefferbaum, et al., 2019).

Research (Bryant, 2002) supports the need for early interventions to prevent PTSD and other psychiatric disorders from developing after mass trauma exposure. Treatment effectiveness is shown within one month to several years post-trauma (Bonanno, et al, 2010). Current research (Galea & Resnick, 2005) indicates that human-made disasters can have a more severe impact than natural disasters in that they afflict not only direct survivors but the general public with PTSD. As the Director of child therapy days following the Sandy Hook School Massacre, and mobilizer of sustainable art therapy programming for the Newtown, Connecticut community, the presenter will introduce multiple community concerns and solutions regarding creativity, art therapy, and trauma recovery. Since then she has aided in the mobilization of art therapy and trauma services across the
United States ( including Charleston, SC, Santa Fe & Houston, TX, several regions of California, and most devastatingly New York City with the spike in very young displaced migrant children ). Internationally her most prevalent supervision, and trainings, are provided for Ukraine active war response, and
for India. The most recent American mass community efforts have gone to both the heart breaking elementary school tragedy in Madison, Wisconsin, as well as the current California wild fires destruction.

This practice opens vast global perspectives to help each clinician better prepare to individualize local art therapy needs. Attendees will finish with greater confidence and perspective on how to land with professional boots on the ground, implement assessments, explain the neurobiology of art therapy and mass trauma recovery, plus an increased understanding of how trauma symptoms across all age ranges present through the art therapy process (Chapman, 2014, Gantt & TInnin, 2009, Hass-Cohen, et al 2015).

With the surge in the number of people seeking asylum in New York City since spring 2022, more than 182,900 individuals had sought refuge through the city’s system by March 2024 (New York City Comptroller, 2024). In response to the urgent need for housing, the city has established more than 215 sites, including emergency hotel shelters managed by the Department of Homeless Services (DHS) for asylum seeker families with children (New York City Comptroller, 2024).

Families often face vast adversity and are at risk of mental health challenges due to pre-migration trauma, trauma during the journey, and experiences of uncertainty intemporary resettlement (Akthar & Lovell, 2019; Rosa-Noroña, Fernández-Pastrana, 2024; Hamouda, et. al, 2024).

Recognizing the profound trauma experienced by asylum seekers, the city provides crisis counseling and psychological first aid through the Navigation Center (New York City Comptroller, 2024). Along with the City’s efforts to support the mental health of asylum seekers, trauma-informed and culturally-responsive art therapy Workshops were provided to caregivers and children from infancy to adolescence who are living in hotels as temporary housing. Since March 2023, thirty-one art therapy Workshops have been held across approximately 23 different emergency hotel shelters in NYC. Thirty-seven graduate art students have volunteered to participate under the supervision of three art therapy faculty members. The Workshops were 2 hours in length and were composed of individual art making and community building activities to cultivate hope
(Aktar, Z, Lovel, 2019; Chavez-Dueñas, et al. 2019;Gil Schwartzberg, Tali, et al., 2021;Lousa, T., Hughet, 2022).

Supervision was provided to discuss the structure of activities, intersectionality, and adjustments for containment. Creative processes and themes addressed ambiguous loss, acculturative stressors, promoted positive cultural identity development, making meaning of experiences, and cultivating
joy with community. Symbols within nature and relationships were utilized to create meaning, build connections, and relationships with other participants.
This Workshop is an opportunity to learn how to facilitate Workshops that honor asylee’s nuclear family unit, customs, extended family members, and home country. Presenters will share the themes of love, family, friends, unity, and hope as protective factors. Process art recreations will be shared to highlight intervention approaches.

Our role as therapists is governed by professional ethical codes, including guidelines addressing dual or multiple relationships (Kessler et al., 2005). These guidelines define multiple relationships as instances when a therapist engages in a professional role with a client while simultaneously fulfilling another role with that same client, either presently or in the future. In small communities, therapists often assume roles beyond their professional duties, such as advocacy, case management, or shared social dynamics, particularly within communities characterized by marginalization or social isolation.

As outlined by Kafer (2021), cultural ideals of normalcy are deeply embedded in art therapists’ education and our professional ethical codes. These ideals, shaped by ableist and heteronormative assumptions, to name a few, can reinforce rigid notions of professionalism and relational boundary setting. In doing so, they often fail to account for the complex realities of marginalized communities, where relational dynamics are not easily categorized. For example, such normative ideals may perpetuate the marginalization of LGBTQIA+ therapists and clients by enforcing frameworks that prioritize separation and individualism over interdependence and community care.

Relationships and communities can suffer when ethical rules are rooted in separation, elitism, or unearned expertise. While small communities present
unique opportunities for meaningful and authentic relationships, navigating the interplay of professional boundaries, personal visibility, and community dynamics remains challenging. Ethical decision-making in these contexts requires therapists to prioritize their clients’ well-being and sense of authenticity and safety. By challenging cultural ideals of privacy and embracing perspectives that value relational accountability and community care, therapists can navigate these complexities with integrity and create liberatory practices that benefit
their clients and their sense of authenticity.

Applying ethical considerations to boundaries requires exploring their types, functions, and purposes. Boundaries may involve physical, relational, emotional, or professional dimensions and must be tailored to the needs of both client and
therapist. For example, normalizing the option for clients to terminate services if boundaries become uncomfortable can foster trust and safety (Thomas & Nadela, 2021). Therapists can also negotiate shared and separate spaces collaboratively, considering the importance of specific spaces to the client and the degree of boundary blurring involved. In some cases, seeking clients outside of one’s immediate community may support greater accountability, but this approach must balance the needs of both client and therapist.

In this full-day experiential Workshop, participants will use three therapy ethical dilemma decision-making models to explore the themes and interplay of
art therapy and counseling ethical codes applied to multiple relationships within small or rural communities. These frameworks will include embodied ethics (Hervey, 2007) or the valuing of body-based learning, empathetic caring for
ethical meaning-making, culturally responsive ethical decision-making(Frame & Williams, 2005)that considers and includes the worldview and values of diverse clientele, and the art therapy DO ART model (Hauck & Ling, 2016) that emphasizes an experiential examination of the various facets of the dilemma.

Participants will share aspects of what has been complicated, challenging, and inspiring as professional therapists and community members from their clinical and lived experiences. Using somatic and creative techniques, we will explore boundaries, bias, and relationships. The lens of cultural humility in art therapy (Jackson, 2020) will be highlighted as a guide for reflection. Relevant ATCB codes of ethics will be explored and creatively responded to. The ethical decision-making frameworks named above will be applied to real-life scenarios found and experienced in small communities.

According to the World Health Organization (2025), approximately 280 million people have depression, with psychotherapy being the first-choice treatment.
Prior to the appearance of major depressive disorder, individuals often exhibit difficulties with regulating emotion (WHO, 2025). Research shows that art
therapy is effective in reducing signs of emotional problems (Jette, 2019). Clay as a single therapeutic medium has demonstrated effectiveness in improving
various facets of emotion regulation (Jang & Choi, 2012; Nan & Ho, 2017). Jang and Choi (2012) reported that group hand-building promoted psychological resilience in at risk youth. Nan and Ho (2017) found that clay therapy alleviated depressive signs and improved general mental health in adults with depression. Further, the construction of meaning via creative clay work can encourage self-development (Nan, 2021) and positive emotions have been shown to increase following free clay building (Rankanen et al., 2022).

Clay therapy (Nan, Hinz & Lusebrink, 2021) ntegrates the Expressive Therapies Continuum (ETC) (Hinz, 2020) and proposes that therapeutic work starts with
intensive kinesthetic-sensory movement as an initial emotion regulation strategy. The processes include tearing clay pieces, sensing the clay texture, and pounding and kneading clay. The activated somatosensory reactions stimulate rhythmic movement, which can alleviate physiological signs of emotional problems such as stress. Over a series of sessions, rhythmic bodily movements can attune
hyper-/hypo-aroused emotional reactions and stress responses. Research has demonstrated a reduction in hair cortisol concentration, a biomarker of stress,
in adolescents who completed six 2-hour clay therapy sessions (Nan, Wong & Kang, 2023). Next, the gradual learning of hand-building techniques such as pinching clay into different forms and carving and glazing the clay, enables participants to develop perceptual skills and organize emotional expressions. Both processes enhance the functions of objective judgments and controlled affective expressions (Nan et al., 2021). Finally, molding clay sculptures sharpens concentration, problem-solving, and analytical skills to strengthen cognitive functioning, often a deficit in emotion regulation. The pursuit, design, and expression of personal symbols via the sculptures help to consolidate personal meanings in life that enhance resilience (Nan et al., 2021).

This Workshop will introduce Clay Therapy and demonstrate its principles and processes aligned with the ETC. Through lectures, demonstrations, and hands-on work with clay, participants will learn the theory behind Clay Therapy and understand the evidence base that supports it. Participants will embody the various stages of Clay Therapy and experience the techniques involved in emotion
regulation with each phase of the work.

This presentation introduces the unique challenges and rewarding experiences of providing art therapy for individuals living with dementia. Our first hand
insights offer valuable lessons on connecting with those who may not remember previous sessions, emphasizing the transformative power of art to transcend cognitive barriers and enhance overall quality of life.

Understanding the differences between dementia and normal aging is important for effective intervention. Participants will gain insights into distinguishing
between these conditions, giving them the knowledge to tailor their approach to the specific needs of individuals with dementia. Through real-life scenarios, we will illustrate how recognizing these distinctions is a crucial first step towards creating meaningful therapeutic engagements.

Art therapy has had strong lasting impacts beyond our sessions with clients. We will speak about focusing on the quality of life for individuals with dementia. By embracing a quality of life perspective, participants will discover how to navigate the emotional landscape of those affected by dementia. Through the lens of creativity, we explore the profound impact that artistic expression can have
on emotional well-being, fostering connections that endure even as memories fade.

This presentation will also guide participants in identifying suitable art mediums and adaptations that can support and engage individuals at different
stages of the disease process. Practical insights will be shared, drawing on experiences that demonstrate why specific artistic tools and techniques work for
some people with dementia and not others.

As we explore the unique challenges of working with individuals who may not remember previous sessions, we speak to the importance of the therapeutic relationship, especially as memories begin to fade. Art therapy becomes a bridge, allowing us to connect with our clients, helping them remember their core sense of self. Through case studies, art experientials, and interactive discussions, participants will gain practical strategies for establishing, growing and nurturing a therapeutic relationship with people living with dementia.

Join us on this exploration of art therapy for dementia, where creativity becomes a beacon of connection, illuminating the path for both therapists and individuals alike. By the end of the presentation, participants will not only possess a heightened awareness of dementia versus normal aging but will also be equipped with tools to approach their work with a quality of life perspective. Together, let us discover the profound impact that art can have in transcending cognitive barriers and enhancing the quality of life for those navigating the challenging terrain of dementia.

This Workshop describes how arts-based methodologies facilitate creative entry points into discussions surrounding healing and harm. The facilitators provide a BIPOC (Smith, 2021; Toliver, 2021; Wilson, 2008), womanist (Hudson-Weems, 2019; Maparyan, 2012; Ogunyemi, 1996; Walker, 2004), and interdisciplinary lens from art therapy, drama therapy, and social welfare. Research methodologies are increasingly interested in qualitative and arts-based methods, such as Photo
Voice, yet when arts-based methods are promoted, they are often conducted by non-art therapists (see exceptions, Feen-Calligan, 2008; Feen-Calligan et al.,
2023). The facilitators will share the creative practices they have utilized in their qualitative research, specifically data collection and data analysis, to
address concerns surrounding managerialism in higher education and Black healing and liberation. Utilizing the arts as a way to obtain data, particularly
regarding topics that may be difficult to put into words, and more specifically for participants who are marginalized in academic spaces. Kapitan (2018) has
noted that research in art therapy does not necessarily utilize artmaking for knowledge production. In fact, much creative arts therapy research is to promote the efficacy of the arts therapies (see Kaiser & Deaver, 2013; Van Lith et al.,
2023), not necessarily as a method of inquiry in and of itself. This Workshop aims to guide clinicians in the application of clinical skills into meaningful
research skills to ultimately serve individuals and communities.

Attending to critical race feminist (Houh & Kalsem, 2015; Wing, 1999) and intersectional theories (Cho et al., 2013; Collins & Bilge, 2016; Moraga & Anzaldúa, 2015), This Workshop is concerned with the practice of power, oppression, racism, and sexism and how these realities impact the lived experiences of BIPOC persons. Furthermore, critical race feminism and
intersectionality centralizes the voices of those who are marginalized and silenced, finding value in their narratives. To deeply understand these stories,
the facilitators democratize research by promoting novel and creative research and practice methodologies. The facilitators invite attendees to bring in a research question that is connected to their clinical practice to This Workshop.

 In a rapidly evolving digital landscape, generative artificial intelligence (AI) tools are transforming how we approach creativity, self-expression, and healing.
Despite their potential benefits, art therapists are rightfully cautious about using AI tools due to concerns about the devaluation of creative labor (Lee,
2022), the possible exploitation of creative ownership leading to economic, social, political, and cultural misrepresentation (Notaro, 2020), and inherent
biases embedded in AI systems (Ferrara, 2023). However, as these powerful tools expand the boundaries of creativity and open new avenues for inclusive engagement, it is essential for clients, students, and art therapy educators to navigate this uncharted digital landscape.

This Workshop, based on the initial guidelines drafted by Choe and Hinz (2024), will provide practical case examples and dilemmas where AI tools infiltrate
traditionally controlled spaces of learning, therapy, and research. The facilitators will host small group discussions around the benefits and challenges of using AI and share their insights on the inherent characteristics and qualities of current and prevalent AI applications. Participants will gain a foundational understanding of the ethical framework and cultural humility required when using AI tools. This includes addressing issues of bias, ensuring the respectful and appropriate use of AI-generated content, and maintaining the integrity of the educational and research process.

Participants will engage in hands-on activities to explore how AI can be used to generate therapeutic art interventions, enhance learning experiences, and
support data-driven research. These activities will include creating AI-assisted artworks or lesson plans and discussing their implications for therapeutic
engagement or teaching methodologies. This exercise will highlight the potential of AI to inspire creativity and provide new perspectives in art therapy.
Additionally, participants will analyze a dataset or text using an AI tool, evaluating its effectiveness in qualitative or quantitative research applications. This will demonstrate how AI can support evidence-based practices and contribute to the advancement of art therapy research.

Participants will openly explore the potential benefits and ethical considerations of each tool, fostering a critical understanding of AI’s role in the field. They will be encouraged to share their experiences and concerns about AI and work collaboratively, leading to new insights and approaches for each unique context. These discussions will provide a platform for collaborative learning and reflection, helping participants develop a balanced and informed
perspective on the use of AI in their practice.

By the end of the course, participants will have an overview of how AI can support human creativity (Choe & Hinz, 2024) and educational engagement while maintaining ethical and culturally responsive practices. This proposal aims to equip art therapists, especially art therapy educators with the knowledge and skills to integrate AI into their art making, teaching, and research thoughtfully and ethically, fostering innovation and inclusivity in the field.

 Despite growing interest in and prevalence of digital art making tools in our modern world, art therapy remains slow to adopt digital media in sessions
(Zubala et al., 2021). This may be in part due to a “conflict between the desire to promote art therapy and engage in technology and the desire to remain loyal to the field’s origins in traditional methods of communication and art media” (Asawa, 2009, p. 58). No single tool, either analogue or digital, can meet the
needs of every client in every situation (Kagin & Lusebrink, 1978; Parker-Bell, 1999), therefore thoughtful selection of media is paramount. Without robust, systematized frameworks specific to digital materials, art therapists can look to art therapy’s roots for guidance on the use of emerging technologies.

Kramer (1971/1974) described how clients engage with materials at different levels: precursory activities, chaotic discharge, art in the service of defense,
pictographs, and formed expression. This framework describes a continuum of artistic engagement ranging for sensorial and technical experimentation through
increasingly organized and expressive use of the material. Exploratory use of the materials stoke curiosity, sensory awareness which may support mindfulness (Czamanski-Cohen & Weihs, 2016), and the development of rapport with the therapist. Symbolic use of the materials allows for the exploration of themes and the making of meaning (Kagin & Lusebrink, 1978). Collaboration allows
participants to practice verbal and non-verbal communication skills, develop positive social relationships, and reduces isolation (Yalom, 1970/2020). Art therapists can scaffold the use of a material to help clients move through this continuum to meet their therapeutic goals.

Digital tools can similarly be leveraged based on the client’s needs. This advanced practice course will present strategies that bridge the gap between
identifying appropriate digital tools suitable for use in art therapy sessions and how to apply these tools to meet client needs. Participants will use both traditional and digital materials to investigate the exploratory, symbolic, and collaborative levels of art making.

Keywords: Art therapy, digital art, apps, materials