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What do you see? Phenomenology of Therapeutic Art Expression
The Arts in Psychotherapy, Vol. 24, No. 1, pp. 103-104, 1997 Cmvrinht 63 1997 Ekvicr Science Ltd Ph&a in the USA. All rights resewed 0197-4556/97 517.00 + .OO
Pergamon
PII SO197-4556(96)00062-7
BOOK
Phenomenology
REVIEW
What Do You See? of Therapeutic Art Expression
Mala Gitlin Betensky, (London
& Bristol,
PA: Jessica
Kingsley,
PhD, A.T.R.
1995,
208 pages,
$29.95,
paperback)
hension and interpretation (P. 13)
The phenomenological approach to art therapy is here presented by Mala Betensky in an orderly and scholarly fashion. After her introduction to the subject of phenomenology, followed by her phenomenological method of art therapy, she proceeds with Part II: Symbolic Expression in Art Therapy, Part III: Expressive Qualities of the Scribble, Part IV: Art Expression for Art Therapy Diagnostics and Part V: Art Expression by Children Under Ultimate Stress, all exemplifying the use of phenomenology. 1 mention all the sections to emphasize the variety of ideas, techniques, research, background information and clinical application that Betensky offers. Some of us already know about Betensky’s favored approach from reading Judith Rubin’s book (1987) in which Betensky has a chapter devoted to phenomenology. What Do You See? develops depth and breadth to the topic and can be considered a significant contribution to the literature. Phenomenology, Betensky reports (and I agree with her), has been a neglected approach by the art therapy novice or student who often stands behind the more usual approaches. She explains,
of clients’ art work.
Since phenomenology had its roots in philosophy, the phenomenological art therapy approach took a different direction from those whose seminal writers based their work in psychology and psychoanalytic theory. In this book, Betensky synthesizes philosophical phenomenology and her interest in Gestalt psychology, particularly Arnheim’s. The centrality of concern for Betensky is with the human’s subjective experience in the world. She shows how the trained art therapist can guide clients to learn how to perceive their own projections. Phenomenological art therapy can ease the client “to a renewed ability to look at and feel self-among others in one’s own world and in the larger world (p. 13).” When I was first exposed to phenomenological theory it was from an experienced clinician who assisted me to shift from cognitive dialogue to descriptive words. Betensky guides the reader through that process with her examples and case studies. The first chapter, however, although extremely informative, could be more dynamic and alive. First impressions have a large impact and my concern is that the therapist with little familiarity might lose interest in this otherwise well-presented book and valuable approach. Many years ago I read what Harriet Wadeson (1980) said about art therapy. She likened the difficulty in explaining art therapy to trying to explain the
At large, art therapy ,has been formed by psychoanalytical, mainly Freudian, and also Jungian, psychology and psychiatry, and by behaviorism. These approaches formulated the practice of art therapy from its beginnings and subsequently, also, most art therapists’ compre103
104
BOOK REVIEW
taste of chocolate--one has to taste it to know it. This statement seems to be particularly true in explaining the phenomenological approach and, in this context, Betensky’s. This book gives us a taste (but it is best to experience the therapy) as you move through it. The final chapter on children’s art from the concentration camps is not one that easily slips through the palate. One art therapy intern I supervised was exposed to Betensky’s writings and based her therapy sessions at a women’s center on Betensky’s work. From my field supervision of the student, I was able to see for myself how clients responded to “What do you see?” Over a period of time the artwork, saved in folders, became the documentation of changes that occurred. Although the intern modified some aspects of Betensky’s method she stayed true to the core that forged toward the “restoration of a client’s sense of personhood” (p. 24). The intern was pleased with the client’s cooperative spirit and changes she perceived in the clients. The combination of philosophical phenomenology and the Gestalt art therapy approach formed her therapy sessions. I join the student in honoring this approach.
Betensky has provided relevant examples of what all art therapists encounter in art-line, shape, colorand in art therapy-the scribble technique, diagnostic tests, research, and case studies all using the phenomenological perspective. The matererial is presented in a small volume with paperback glossy pages, clear art reproductions and a clear text layout. This book is dense with information, ideas and years of scholarly experience. I recommend it as one to be studied and adopted by the therapist taking into account its special properties, flexibility and usefulness.
Assistant
Joan Bloomgarden, PhD, A.T.R.-BC Professor, Creative Arts Therapy Program Hofstra University, Hempstead, NY
References Rubin, J. A. (Ed.). (1987). Approuches Brunner/Mazel. Wadeson, H. (1980). Art psychotherapy
to nrt therapy. New York: New York: Wiley.
Pergamon
PII SO197-4556(96)00062-7
BOOK
Phenomenology
REVIEW
What Do You See? of Therapeutic Art Expression
Mala Gitlin Betensky, (London
& Bristol,
PA: Jessica
Kingsley,
PhD, A.T.R.
1995,
208 pages,
$29.95,
paperback)
hension and interpretation (P. 13)
The phenomenological approach to art therapy is here presented by Mala Betensky in an orderly and scholarly fashion. After her introduction to the subject of phenomenology, followed by her phenomenological method of art therapy, she proceeds with Part II: Symbolic Expression in Art Therapy, Part III: Expressive Qualities of the Scribble, Part IV: Art Expression for Art Therapy Diagnostics and Part V: Art Expression by Children Under Ultimate Stress, all exemplifying the use of phenomenology. 1 mention all the sections to emphasize the variety of ideas, techniques, research, background information and clinical application that Betensky offers. Some of us already know about Betensky’s favored approach from reading Judith Rubin’s book (1987) in which Betensky has a chapter devoted to phenomenology. What Do You See? develops depth and breadth to the topic and can be considered a significant contribution to the literature. Phenomenology, Betensky reports (and I agree with her), has been a neglected approach by the art therapy novice or student who often stands behind the more usual approaches. She explains,
of clients’ art work.
Since phenomenology had its roots in philosophy, the phenomenological art therapy approach took a different direction from those whose seminal writers based their work in psychology and psychoanalytic theory. In this book, Betensky synthesizes philosophical phenomenology and her interest in Gestalt psychology, particularly Arnheim’s. The centrality of concern for Betensky is with the human’s subjective experience in the world. She shows how the trained art therapist can guide clients to learn how to perceive their own projections. Phenomenological art therapy can ease the client “to a renewed ability to look at and feel self-among others in one’s own world and in the larger world (p. 13).” When I was first exposed to phenomenological theory it was from an experienced clinician who assisted me to shift from cognitive dialogue to descriptive words. Betensky guides the reader through that process with her examples and case studies. The first chapter, however, although extremely informative, could be more dynamic and alive. First impressions have a large impact and my concern is that the therapist with little familiarity might lose interest in this otherwise well-presented book and valuable approach. Many years ago I read what Harriet Wadeson (1980) said about art therapy. She likened the difficulty in explaining art therapy to trying to explain the
At large, art therapy ,has been formed by psychoanalytical, mainly Freudian, and also Jungian, psychology and psychiatry, and by behaviorism. These approaches formulated the practice of art therapy from its beginnings and subsequently, also, most art therapists’ compre103
104
BOOK REVIEW
taste of chocolate--one has to taste it to know it. This statement seems to be particularly true in explaining the phenomenological approach and, in this context, Betensky’s. This book gives us a taste (but it is best to experience the therapy) as you move through it. The final chapter on children’s art from the concentration camps is not one that easily slips through the palate. One art therapy intern I supervised was exposed to Betensky’s writings and based her therapy sessions at a women’s center on Betensky’s work. From my field supervision of the student, I was able to see for myself how clients responded to “What do you see?” Over a period of time the artwork, saved in folders, became the documentation of changes that occurred. Although the intern modified some aspects of Betensky’s method she stayed true to the core that forged toward the “restoration of a client’s sense of personhood” (p. 24). The intern was pleased with the client’s cooperative spirit and changes she perceived in the clients. The combination of philosophical phenomenology and the Gestalt art therapy approach formed her therapy sessions. I join the student in honoring this approach.
Betensky has provided relevant examples of what all art therapists encounter in art-line, shape, colorand in art therapy-the scribble technique, diagnostic tests, research, and case studies all using the phenomenological perspective. The matererial is presented in a small volume with paperback glossy pages, clear art reproductions and a clear text layout. This book is dense with information, ideas and years of scholarly experience. I recommend it as one to be studied and adopted by the therapist taking into account its special properties, flexibility and usefulness.
Assistant
Joan Bloomgarden, PhD, A.T.R.-BC Professor, Creative Arts Therapy Program Hofstra University, Hempstead, NY
References Rubin, J. A. (Ed.). (1987). Approuches Brunner/Mazel. Wadeson, H. (1980). Art psychotherapy
to nrt therapy. New York: New York: Wiley.