Much has been written about basic concepts of group theory as applied to group psychotherapy. Though there are many theories, there is agreement about several basic concepts that can be found in groups regardless of the theoretical perspective. Much has also been written regarding how basic concepts of group theory can be found and applied to all kinds of groups, not just psychotherapy groups. This paper focuses on the possibilities of a group theory class in a graduate creative arts therapy program as an optimal setting in which to convey not only understanding of group theory as therapy, but also as an avenue for awareness of social justice, relating to society as a large group. The paper demonstrates the use of movement and art-making as the vehicles to understanding of group theory as it relates to therapy, social, and environmental issues, and will focus on the use of dance/movement therapy and art therapy as vehicles for increasing awareness and effecting change.
For nearly a decade, we have co-taught Group Creative Arts Therapy I and II in Pratt Institute's Graduate Creative Arts Therapy Department. These group courses, are highly experiential in nature because students learn about group process and dynamics by participating in an actual group experience in the classroom setting. Dance and art therapy are particularly effective ways of deepening group process and of teaching group theory. Through our co-teaching and integration of our disciplines within this format, we continue to contemplate a variety of dynamics that occur in our classes. We have more recently been considering a larger context for the material taught in the group courses as well as in our own work as creative arts therapists. It has become increasingly clear to us as teachers that we have a responsibility to assist our students in how to recognize, consider, and address issues of social justice, social welfare and the environment in their work as creative arts therapists.
With this in mind, this paper addresses the ways in which group creative arts therapy reaches out beyond the less visible boundary of small groups and into these larger realms. We believe that group is the place where these concerns are seen and can, ultimately, be influenced, and as Kutash and Wolf state, “The group is a microcosm of the outside world” (Kutash & Wolf, 1993, p. 79). As we assist our students in understanding their own process as part of a group and then in understanding how to use dance and art therapy to further group process and development as clinicians, we are also assisting them in considering what they can apply to the larger context of groups in society.
One of our beliefs is that if our students have a good enough experience as part of a group during their training, they will be more likely to choose to be members of other groups when they leave school; that is, they are more likely to be part of a larger Creative Arts Therapy (CAT) community, for example, if they have had a good enough experience as part of the CAT community at Pratt. We see this as part of a parallel process. If our students are having a useful experience as part of a group at Pratt, they are more likely to successfully engage clients in groups at their internships; and if their clients have good enough experiences as group members while in treatment, they are more likely to choose to be members of other groups outside of treatment. In theory, they may choose to be involved and active members of their communities.
A broader debate is required about the relationship between ecological, economic and social justice principles and objectives (Fritze, Blashki, Burke, & Wiseman, 2008). Nonetheless, we agree with Ormont (1995) that the group itself is the instrument of change and for this reason we’re choosing to discuss these larger issues through this vehicle. The large group is a symbolic container for all of society's feelings and experiences (Schneider, 2003).
