MODULE 1. INTRODUCTION TO INTEGRATIVE EXPRESSIVE PSYCHOTHERAPY
1.1. What is integrative expressive psychotherapy – 1.1.1. The definition of psychotherapy; 1.1.2. The definition of integrative expressive psychotherapy; 1.1.3. The history of expressive psychotherapy; 1.1.4. The history of integrative psychotherapy; 1.1.5. The benefits of using art in psychotherapy; 1.2. Contemporary integrative psychotherapy; 1.3. The theory of expressive psychotherapy – 1.3.1. The concept of art and the theory of art; 1.3.2. The theory of music; 1.3.3. The theory of expressive psychotherapy; 1.3.4. The particularities of the therapeutic relationship in expressive psychotherapy; 1.4. Approaches in integrative psychotherapy – 1.4.1. Multimodal psychotherapy; 1.4.2. The systematic treatment selection; 1.4.3. The Beitman model of future predictions; 1.4.4. Informed clinical strategy; 1.4.5. The trans-theoretical model; 1.4.6. The cyclical relational psychodynamics; 1.4.7. Assimilative psychodynamic psychotherapy; 1.4.8. Cognitive-behavioural assimilative integration; 1.4.9. Multi-theoretical psychotherapy.
MODULE 2. INTEGRATIVE STRATEGIC PSYCHOTHERAPY
1. Core principles of integrative strategic psychotherapy; 2. The integrative strategic model of the Self; 2.1. The psychological axes; 2.1. The proto-self; 2.2. The core self; 2.3. The plastic self; 2.4. The external self; 2.5. The neuroanatomic model of the Self; 3. The model of the Self in the main psychotherapeutic orientations; 3.1. The Self in psychodynamic orientations: The Self in Freudian psychoanalysis; The Self in Jungian psychoanalysis; Winnicott’s theory on the True Self and False Self; Kohut’s theory on narcissism; Stern’s model of the four domains of the Self; The two domains of the Self, described by Masterson; 3.2. The Self in cognitive-behavioural orientations: The social learning theory; The behavioural theory; The cognitive theory; 3.3. The Self in humanistic-existential orientations: Berne’s transactional analysis; Logotherapy; Psychodrama; Gestalt therapy; Person centred psychotherapy.
MODULE 3. PSYCHODIAGNOSIS
1. Categorical and dimensional diagnosis; 2. Structured diagnosis; 2.1. Psychotherapeutic diagnosis; 2.1.1. The object of psychotherapeutic diagnosis; 2.1.2. The components of psychotherapeutic diagnosis; 2.1.3. Counterindications for commencing or continuing psychotherapy; 2.1.4. The diagnostic guide in psychotherapy (Bartuska et.al.); 2.2. Relational diagnosis; 2.2.1. The client’s perspective on the world; 2.2.2. Information processing styles; 2.2.3. Power differences in psychotherapy; 2.2.4. Interpersonal connections; 2.3. Psychotherapeutic semiology; 2.3.1. The initial interview ; 2.3.2. Symptom analysis; 2.3.3. The integrative strategic system for case evaluation; 2.3.4. The case history; 2.3.5. The mental
MODULE 4. THE BIOLOGICAL LEVEL
1. Case formulation on the biological axis; 2. Genome, epigenome and phenotype; 3. Genetic vulnerability and resilience; 4. The formula of the first human experience; 5. Internal working models; 6. The body schema; 6.1. Body schema distorsions; 7. The body image; 7.1. Body image distorsions in anorexia nervosa; 7.2. The body dysmorphic disorder; 8. Mental maps about health and disease; 9. Psychosomatic mechanisms and the influence of early attachment; 10. Working with the biological axis
MODULE 5. COMMON FACTORS IN PSYCHOTHERAPY. PART 1
1. The definition and classification of common factors in psychotherapy – 1.1. Ehy psychotherapy is efficient; 1.2. Common psychotherapeutic factors; 1.3. The classification of common factors; 2. The client variable in psychotherapy – 2.1. The client – the most important common factor in psychotherapy; 2.2. The stages of change and resistance to change; 2.3. Motivation for psychotherapy – 2.3.1. Types of motivation; 2.3.2. Motivation and the process of change; 2.4. The development of the client’s self – 2.4.1. The global awareness of the self; 2.4.2. Dissociation; 2.5. Self-esteem, self-efficacy and learned helplessness; 2.6. Shame; 2.7. The coping style; 2.8. The attachment style; 2.9. The client’s values and preferences; 3. The psychotherapist variable in psychotherapy: 3.1. Relational variables – 3.1.1. Empathy; 3.1.2. Unconditional regard; 3.1.3. Authenticity; 3.2. Professional variables; 3.2. The psychotherapist’s personal development; 4. Research and ethics in integrative child and adolescent psychotherapy.
MODULE 6. COMMON FACTORS IN PSYCHOTHERAPY. PART 2.
1. Reational common factors – 1.1. The therapeutic alliance: a. The definition and the components of the therapeutic alliance; b. Assessment of the therapeutic alliance; c. The place of the alliance in the therapeutic process; d. Specific aspects of the therapeutic alliance; e. Ruptures of the therapeutic alliance and repair; 1.2. The therapeutic relationship: a. The development and maintenance of the therapeutic relationship; b. The model of the six modalities of the therapeutic relationships; 2. The trans-theoretical common factors – 2.1. The therapeutic context; 2.2. Placebo, hope and expectations; 2.3. The extra-therapeutic change; 3. Strategic common factors – 3.1. The therapeutic myth; 3.2. The assessment process; 3.3. Ego strengthening; 3.4. Emotional processing; 3.5. The corrective emotional experience; 3.6. Rituals and techniques in psychotherapy
MODULE 7. HUMAN DEVELOPMENT, ART AND INTEGRATIVE-EXPRESSIVE PSYCHOTHERAPY
1. The evolutionary role of art; 2. The child’s art from a developmental perspective: 2.1. Pre-symbolism; 2.2. Symbolism; 2.3. The crisis of reality; 3. Art therapy: utility in child psychopathology: 3.1. Art therapy in autism; 3.2. Art therapy in the treatment of the traumatized child; 4. Creative rehabilitation: the use of art therapy in working with the elderly population
MODULE 8. THE INTERPRETATION OF DRAWING AND PAINTING FROM AN INTEGRATIVE PERSPECTIVE
1. Personal history prior to the analysis of drawing and painting; 2. Drawing analysis: 2.1. Behaviour during the drawing assignment; 2.2. Emotions in the drwaing process; 2.3. The stages of drwaing in child development; 2.4. The analysis of the general impression created by the drawing or painting: 2.4.1. The subjective impression; 2.4.2. The artistic impression; 2.4.3. Linguistic expression; 2.4.4. Style; 2.5. The analysis of execution and organization: 2.5.1. Motifs, symbols and signs; 2.5.2. Shape; 2.5.3. Proportion; 2.5.4. Colour; 2.5.5. Movement; 2.6. Space, time and composition: 2.6.1. Emotional signs in the vertical structure; 2.6.. Emotional signs in the horizontal structure; 2.6.3. The mirrored projection of the body image on the drawing surface; 2.6.4. Emotional signs in the temporal order of motifs; 2.7. The power of symbols.
MODULE 9. THE COGNITIVE AXIS
Theoretical course (10 hours): 1. Case formulation on the cognitive axis; 2. Proto-cognitions; 3. Cognitive maps: Core beliefs; Intermediary beliefs; Automatic thoughts; The explanatory style; 4. Perfectionism; 5. Working with the cognitive axis
MODULE 10. THE EMOTIONAL AXIS
1. Case formulation on the emotional axis; 2. Attachment; 2.1. Attachment formation; 2.2. The attachment style; 2.3. Types of child attachment; 2.4. Types of adult attachment; 2.5. The influence of adult attachment on the quality of child attachment; 2.6. The client’s attachment style and its impact on psychotherapy; 2.7. The therapist’s attachment style and its impact on psychotherapy; 3. Emotions; 3.1. Affects; 3.2. Primary emotions; 3.3. Basic emotions; 3.4. Emotion regulation; 3.5. Emotion repression and neurotic guilt; 3.6. Emotional expression; 3.7. Alexithymia; 4. Intersubjectivity; 5. The conditions of worth; 6. Working with the emotional axis.
MODULE 11. THE PSYCHODYNAMIC AXIS. PART 1.
1. Case formulation on the psychodynamic axis; 2. Subpersonalities or ego parts; 2.1.The ego parts; 2.2. The inner counsellor or the core, 2.3. The DNMS model of the ego parts; 2.4. The internal family systems model; 2.5. The ego parts therapy: Hypnosis and the empty chair technique; Ego parts therapy according to Watkins & Watkins; The management of dissociation; 3. The ego states; 3.1. The ego state concept; 3.2. Ego state therapy: The Inner Child Technique; Age regression; The theatre visualization technique; The Developmental Needs Meeting Strategy
MODULE 12. THE PSYCHODYNAMIC AXIS. PART 2.
1. Transference and countertransference; 1.1. Definitions of transference; 1.2. Typical manifestations of transference; 1.3. The two triangles model – Malan & Davanloo; 1.4. The four triangles model – Molnos; 1.5. Transference interpretation; 1.6. Definitions of countertransference; 1.7. Typical manifestations of countertransference; 1.8. Projective identification; 1.9. Unconscious identity; 1.10. Countertransference management; 1.11. Countertransference interpretation; 1.12. Resistance to countertransference; 1.13. Enactments; 2. Psychological games; 2.1. The concept of psychological games; 2.2. The drama triangle; 2.3. Life positions; 3. The life script; 3.1. Formation of the life script beliefs; 3.2. The maintenance and manifestation of the life script; 3.3. Life script levels; 3.4. The counter-script; 3.5. Working with the life script in psychotherapy; 4. Working with dreams in psychotherapy
MODULE 13. PSYCHODYNAMIC AND PSYCHOANALYTICAL EXPRESSIVE PSYCHOTHERAPY
13.1. Psychodynamic and psychoanalytically oriented art therapy – 13.1.1. Contemporary psychoanalytic art therapy; 13.1.2. Freudian psychoanalytic art therapy; 13.1.3. Jungian art therapy; 13.1.4. Archetypal art therapy; 13.1.5. Art therapy through the prism of object relations; 13.1.6. Symbolism and techniques of psychoanalytic art therapy; 13.2. Psychodynamic approaches in music therapy – 13.2.1. General principles of psychodynamic music therapy; 13.2.2. The Bonny method; 13.2.3. Voice psychotherapy (Austin method); 13.2.4. Music therapy of analytical orientation – Priestley model; 13.2.5. Music therapy through free improvisation – the Alvin model.
MODULE 14. HUMANISTIC APPROACHES IN EXPRESSIVE PSYCHOTHERAPY
14.1. Humanistic art therapy – 14.1.1. The Gestalt approach in art therapy; 14.1.2. The existential approach in art therapy; 14.1.3. The person-centered approach in art therapy; 14.1.4. The transpersonal approach in art therapy; 14.1.5. Positive art therapy; 14.1.6. Art therapy based on focusing; 14.2. Humanistic music therapy- 14.2.1. Humanistic music therapy – general principles; 14.2.2. Creative music therapy – the Nordoff-Robbins model.
MODULE 15. EXPRESSIVE GROUP PSYCHOTHERAPY
15.1. Processes of group art therapy; 15.2. Theories of group art therapy – 15.2.1. Studio-based group theory; 15.2.2. Feminist theory; 15.2.3. Theory of social action: 15.2.4. Existential theory; 15.2.5. Theory of interpersonal neurobiology; 15.2.6. Psychodynamic theory; 15.2.7. Adlerian theory; 15.3. Analytically oriented expressive group psychotherapy; 15.4. Types of groups in expressive psychotherapy – 15.4.1. Psychoeducational groups; 15.4.2. The open workshop; 15.4.3. Specific groups; 15.5. Curative factors in group psychotherapy.
MODULE 16. EXPRESSIVE INTEGRATIVE PSYCHOTHERAPY ON THE FAMILY AXIS
16.1. Transgenerational patterns; 16.2. Differentiation of the self within the family; 16.3. Inter-generational patterns; 16.4. Working with families – 16.4.1. Diagnostic procedures in family psychotherapy; 16.4.2. Family art therapy; 16.4.3. Working with couples through expressive interventions; 16.5. Family drawing technique – 16.5.1. Basic concepts in family drawing; 16.5.2. Interpretation of the family drawing; 16.5.3. Defense mechanisms of the Ego against anguish in the family drawing; 16.5.4. Valorization and devaluation of the characters in the family drawing; 16.5.5. Connections and identifications in the family drawing.
MODULE 17. BIBLIOTHERAPY, METAPHOR, WRITING AND STORIES IN PSYCHOTHERAPY
17.1. Writing as an intervention in integrative psychotherapy – 17.1.1. The concept of expressive (creative) writing; 17.1.2. The effectiveness of creative writing as a tool in psychotherapy; 17.1.3. The theoretical bases of creative writing; 17.1.4. “Warm-up” techniques in creative writing; 17.1.5. Psychotherapy techniques using creative writing; 17.1.6. Object-stimulated writing; 17.1.7. Letters in psychotherapy; 17.1.8. The journal; 17.2. Literature as an intervention in integrative psychotherapy – 17.2.1. Bibliotherapy; 17.2.2. Criteria for choosing texts in bibliotherapy; 17.2.3. Psychotherapy through poetry; 17.2.4. The theoretical foundations of psychotherapy through poetry; 17.2.5. Neurobiology of poem therapy; 17.2.6. Types of poem therapy; 17.2.7. Poetry-expressive therapy; 17.3. Metaphors and psychotherapeutic stories; 17.3.1. Therapeutic metaphors; 17.3.2. Metaphorical techniques; 17.3.3. Stories in psychotherapy; 17.3.4. Examples of therapeutic stories; 17.3.5. The use of fairy tales in psychotherapy.
MODULE 18. DANCE AND MOVEMENT AS INTERVENTIONS IN INTEGRATIVE PSYCHOTHERAPY
18.1. Dance and dance therapy; 18.2. Psychology of dance; 18.3. Principles of psychotherapy through dance and movement; 18.4. Approaches in psychotherapy through dance and movement – 18.4.1. The Chase approach; 18.4.2. The Evan approach; 18.4.3. Psychodynamically oriented dance psychotherapy; 18.4.4. The authentic movement; 18.4.5. Psychotherapy through tango; 18.4.6. Integrative psychotherapy through dance; 18.5. Interventions specific to psychotherapy through dance – 18.5.1. Dance techniques; 18.5.2. Expression, metaphor and synchronicity; 18.5.3. Centering, focus; 18.5.4. Imaginative techniques; 18.5.5. Leadership style; 18.5.6. Meditation techniques; 18.5.7. Relaxation techniques; 18.5.8. Regression; 18.6. Neurobiology of dance therapy.
MODULE 19. CREATIVE INTERVENTIONS IN INTEGRATIVE PSYCHOTHERAPY. PART 1
19.1. Textile art – 19.1.1. The use of textile art in psychotherapy; 19.1.2. Textile art techniques; 19.2. Using clay as a material for creative interventions in psychotherapy; 19.3. The collages; 19.4. Making masks.
MODULE 20. CREATIVE INTERVENTIONS IN INTEGRATIVE PSYCHOTHERAPY. PART 2
20.1. Cinema-therapy as an intervention in psychotherapy – 20.1.1. The unique properties of the film; 20.1.2. Definition of cinema therapy; 20.1.3. The cinema-therapy process – 20.1.3.1. The method of conducting cinema-therapy interventions; 20.1.3.2. Cinema-therapy from a cognitive-behavioral perspective; 20.1.3.3. Cinema-therapy from the perspective of behavioral modeling; 20.1.3.4. Cinema-therapy from the perspective of Jungian psychoanalysis; 20.1.3.5. Cinema-therapy from the perspective of hypnotherapy; 20.1.3.6. Cinema-therapy from the perspective of narrative psychotherapy; 20.1.3.7. Cinema-therapy from the perspective of family psychotherapy; 20.1.3.8. Ways of using cinema therapy; 20.2. The film as an intervention on groups of psychological problems; 20.3. Film analysis; 20.4. Photo-therapy: the use of photography as an intervention in psychotherapy; 20.5. Digital art therapy and virtual expressive psychotherapy.