The urgency of spiritual and intellectual education in the 21st century is heightened against the background of profound historical traumas that have left a mark on Ukraine's national memory (Holodomors, wars, repressions). The artistic comprehension of these events (painting, cinematography, installations, new media) serves as a powerful instrument for developing critical thinking, historical empathy, and national and cultural identity among youth. Art is capable of conveying not only the factual content but also the emotional and symbolic depth of traumatic experience, facilitating dialogue between historical reality and subjective perception. This cultivates a value-based attitude toward the past, develops analytical skills, and moral and ethical consciousness. In the context of the War for Ukraine’s Independence, which has created a new field for understanding, the formation of an effective culture of memory and resistance to the manipulative technologies of Russian propaganda gains particular importance. The interdisciplinary analysis of the phenomenon of memory integrates history, cultural studies, and psychology. Practices, particularly art therapy, highlight key mechanisms for working with trauma: the transformation of memories into detached history, progressive exposure, and the externalization of traumatic experience (the detachment of trauma from the «Self»). This allows for the safe and non-verbal processing of difficult material. The artistic comprehension of traumatic history fulfills memory-forming, emotional-psychological, and educational-communicative functions, integrating difficult experience into the structure of national memory and personal identity. This fosters the development of deep reflection and resilience as the basis of a mature personality. Examples from world art (the «Shoes on the Danube Bank» monument, P. Picasso's «Guernica», W. A. Mozart’s «Requiem») demonstrate universal ways of artistic understanding of suffering that can serve as an educational tool for the conscious experience of the past, the formation of civic position, and the ability to counteract information manipulation. Interdisciplinary approaches were applied: cultural anthropology, memory studies, art historical analysis, hermeneutics, phenomenology, analysis of artistic texts, and visual artifacts.

Effects of mandala art therapy (coloring) on nausea, vomiting, pain and anxiety in children and youth receiving outpatient chemotherapy.

This article considers the supervision in arts therapies in an epistemic and ethical perspective as well as for its clinical implications. Historically supervision is defined as an attribute of psychiatrists, psychoanalysts, psychologists or psychotherapists. Ability to transfer/countertransfer analysis and/or pathology aknowledgements might appear as fullfilling criteria for a qualified supervision in arts therapies. But, if we believe that arts therapies involve deep understanding of the creative process in the context of a specific therapeutic relationship, then the supervisor has to be trained in the phenomenological and intuitive approaches of the art/creative praxis and of the empathic creativity. Exclusively verbal communication in supervision limits the creative resonance and empathy as it is focused on logical/analytical thinking. Using response art offers the opportunity of a deeper atunement in the client/arts therapist/supervisor’s triangle. Viewing client’s production, sharing art therapist’s response art and involving the supervisor’s own creative resonance fosters a multilayers intuitive knowledge. This is corresponding to the unconcious emotional dynamics at work in arts therapies. In this perspective, considering the use of arts-based supervision is an epistemic necessity as well as an ethical issue. It offers responses both to the epistemic paradoxe and to the ethical dilemma of verbalizing on non-verbal phenomena. The arts-based supervision is focused on the arts therapies’ core - and thus able to offer pertinent help both to the client’s clinical needs and to the supervisee’s professional growing. A few clinical examples illustrate these reflections.

This study explored how Technique-Centered Art Therapy (TCAT), focusing on three-dimensional perspective drawing, could induce therapeutic changes in an adolescent cancer patient who initially showed resisted affect-centered art therapy during the COVID-19 pandemic. The study employed a descriptive case study design. The participant was a 14-year-old female adolescent undergoing long-term treatment for acute lymphoblastic leukemia. Between March and August 2021, a total of 17 sessions were conducted through both online (Zoom) and face-to-face formats. The structured stepwise program incorporated tasks of cube drawing, one-point perspective, two-point perspective, and value gradation, gradually extending toward creative production. The findings indicated a decrease in avoidance and fatigue, and an increase in self-regulation and spontaneous expression. Technical mastery was associated with enhanced self-efficacy and self-esteem, while technical immersion fostered cognitive control, predictability, and emotional stability, promoting self-recovery. The results suggest that Technique-Centered Art Therapy can serve as a practical alternative for adolescent cancer patients who find direct emotional expression challenging, by reducing expressive resistance and restoring engagement and flow. Based on these findings, future studies should adopt multiple-case or mixed-method designs to validate the generalizability of effects and further investigate the relationship between technical immersion and changes in the brain’s Default Mode Network (DMN).

Introduction. Modern transformational processes in the higher education system, driven by globalization, digitalization, and the growing demand for practice-oriented competencies, actualize the need to update approaches to the training of specialists in therapy and rehabilitation. Aim. The aim of the study is to theoretically substantiate and empirically verify the the didactic conditions for organizing the search and research activities of bachelor students in therapy and rehabilitation under the conditions of RBL. Materials and methods. The experiment was conducted during the period of 2024–2025 at Poltava State Medical University, with the participation of students of the first (bachelor’s) level of higher education majoring in 227 Therapy and Rehabilitation, specialization 227.02 Occupational Therapy (72 students); as well as 12 instructors who teach disciplines of the relevant educational program. A number of professional disciplines were selected for the experiment «Digital Technologies in Healthcare», «Fundamentals of Health Theory and Healthy Lifestyle», «Art Therapy», which the students studied within the framework of the implementation of RBL and the evidence-based approach. Results. The analysis of changes in the levels of research competence formation among bachelor students in therapy and rehabilitation indicates positive dynamics in the medium and high levels across all four components, along with a decrease in the proportion of students with a low level. Research activity: the share of students with a low level decreased by 25.68%, while the medium and high levels increased by 18.92% and 6.76%, respectively. Formation of research skills: there was a decrease in the low level by 18.92% and an increase in the medium and high levels by 9.46% each. Development of professional and creative potential: a decrease in the low level by 13.51% and an increase in the medium and high levels by 6.76% each indicates the effectiveness of implementing creative methods during practical classes. Conclusions. The overall trend demonstrates the positive effect of the didactic conditions on the formation of research competence among bachelor students in therapy and rehabilitation. The reduction in the proportion of students with a low level and the increase in the medium and high levels confirm the effectiveness of the didactic conditions for organizing search and research work of bachelor students in therapy and rehabilitation.

This study aimed to develop and apply a non-face-to-face integrated arts therapy program to improve mother–child interaction in children with developmental disabilities. The participants were a 12-year-old boy with a developmental disability and his 45-year-old mother, who attended 17 sessions held twice a week for 90 minutes. Results showed overall improvement in interaction, with notable positive changes in disciplinary behavior and emotional expression. Emotional rigidity and communication difficulties were reduced, leading to greater emotional stability and mutual respect. These findings indicate that integrated arts therapy can be therapeutically effective even in online settings, fostering new forms of psychological closeness. This study provides practical and academic insights for enhancing emotional development and family relationships in children with developmental disabilities.

Delinquent adolescents are those who tend to face turbulent emotions which affect their behavior. The untreated depression and anxiety are focused due to their negative impact on oneself and the surrounding society. Therefore, an appropriate intervention should be given so that quality humans can be developed. Integration between counselling and expressive art therapy is a platform of creative exploration as a healing process in helping relationships. The main objective of this TSE-trd is to assist delinquent adolescents in Malaysia to decrease depression, anxiety and stress among them. A validation stage was carried out by three experts’ counselors, and Cronbach alpha .721 was obtained. A group of delinquent adolescents from aged 16 years to 20 ages involved to check the module validity. Research implications are discussed from theoretical aspects, counselling professionals, counsellors and practitioners in the field of counselling, especially those who deal with delinquent adolescents.

ABSTRACT The aim of this study was to understand how female art therapists (ATs) working with children from the Arab community in Israel experience the obligation to report violence against children. Data were collected through in‐depth qualitative interviews using a semistructured format and analysed using reflexive thematic analysis. The participants were 15 female ATs employed in elementary schools. Ten themes were identified, highlighting that violence is often concealed and culturally normalised, which makes reporting both complex and risky. ATs face numerous dilemmas and emotional burdens as they navigate the tension between fulfilling legal obligations and protecting themselves, the children and the therapeutic relationship. The findings underscore the importance of culturally sensitive training and tools for ATs, as well as the need for broader social change to support the duty to protect children through mandatory reporting.

The article explores the content of the studied concept, clarifies the purpose and approaches of art therapy in training future educators to develop the creative potential of learners. It demonstrates the importance of art therapy techniques in preparing future educators. The functions of art therapy are highlighted within the context of the practical activities of future specialists. The possibilities of simultaneously combining various roles of students and educators during professional training are clarified. The role of media art society in applying media art therapy, especially in light of the development of information culture, and the importance of media competence in media creativity are discussed. The initial level of readiness is identified as low. During the formative stage of the pedagogical experiment, the developed technology for training future educators to foster the creative potential of learners through art therapy was implemented, along with the proposed pedagogical conditions for such training. As a result, it was found that, following the development and application of this technology in the higher education process (in EG), the number of future educators with a high level of certain skills significantly increased. Therefore, the technology for training future educators to enhance the creative potential of learners through art therapy is recommended for implementation in the professional training of specialists, as it has proven to be effective.

Revalidating Ceramic Studio is a project run since 2020 based on the authors’ own experience of studio work. The article presents the evolution, from a niche project to a broader conception, founded on openness to diversity of needs. The study of the offered model of applied ceramics workshops stared with working with people with disabilities, while at the second stage, the group of participants of the ceramic crafts program also included able-bodies persons. On completion of the total of 130 workshop hours with people of various abilities and physical and emotional needs, the project was evaluated as attractive to the majority of participants. It confirmed the thesis that we are all disabled and we all need therapy. The revalidating studio became a universal project, which avoided the schema directed at thoughtless consumption. As the project develops, the key concept is the influence of work on the quality of life. The work in question is done by hand, collectively, with regard of individual needs and possibilities. In order to achieve the goal, that is the non-specific therapeutic effect, participants are included in the design process. Manual and workshop skills, in turn, are acquired with the use of plaster working mould as a frame, which helps concentrate on technique, and skills necessary for ceramic craft. The revalidating studio functions based on the model of factory craft. This provides a possibility of separating individual elements of technological process with attention to the sense of agency of all participants. Team building, making decisions about the final effect of the item, and using the frame, were studied in the series of workshops by means of participatory observation, in-depth interview, and survey. The effects of research and workshops were concluded as Guide to Organisation of Revalidating Ceramics Studio, and the original program of applied ceramics course with therapeutic application, developed for the School of Crafts Cieszyn and Studio of Inclusive Ceramics of the Academy of Fine Arts and Design in Katowice, faculty of Art Therapy, the intercollegiate, interdisciplinary, and inter-sectoral MA program. Keywords: ceramics, work, people with disabilities, universal design, non-specific therapeutic effect

BackgroundTherapeutic art is a common activity for patients with dementia (PWD) and their caregivers, but accessibility to dementia‐friendly programs is a barrier. In response to the COVID pandemic, we adapted an in‐person “Art Is…” therapeutic art class into an 8‐week dyadic, fully remote program and measured the impact on patient behavior, caregiver burden, and patient‐caregiver relationship.MethodIn a double crossover design, participant dyads (one PWD and their caregiver) were assigned to two groups, intervention and control. For the intervention period, dyads were mailed weekly kits over an 8‐week period. All patients completed an 8‐week control period of standard care, either before or after the intervention period. Assessments measuring patient symptom severity, patient‐caregiver relationship quality, and caregiver burden were administered at enrollment, at 8 weeks and at 16 weeks. Mixed effect regression models with patient random effects and interaction effects by subgroup (dementia subtype and caregiver) were used to analyze differences between each outcome in the intervention period as compared to the control period.ResultA total of 66 dyads were enrolled into the study, 44 of which completed the study. Attrition was largely attributable to caregiver responsiveness and availability for assessments. However, remote delivery of the therapeutic art program was feasible in our study population. Although there were no overall significant differences between the pre‐intervention and post‐intervention assessments, interaction analyses indicated there was a significant decrease in verbal aggressive behaviors for patients with mild cognitive impairment or atypical dementia (p = 0.01, p = 0.02). Additionally, when the patient's child was the primary caregiver, there was a significant improvement in a caregiver's feelings of accomplishment (p = 0.05) and a decrease in verbal aggressive behaviors (p = 0.04). A limitation of our study is the small sample size.ConclusionThis program demonstrates that at‐home therapeutic arts programs are a feasible alternative to in‐person programs. Future, higher powered analyses are required to assess efficacy of therapeutic art interventions for mood and behavior in PWD, caregiver burden and patient‐caregiver relationships.

The article presents the experience of implementing trauma-informed care through art in the training of future music and pedagogic workers in war conditions. The possibilities of effectively ensuring the training of higher education applicants for professional activity as a teacher who must consciously support the mental health of students through means of musical art at a non-clinical level are revealed. The practical experience of future musician specialists acquiring the ability to trauma-informed care through art-communication interaction on the basis of mastering its components (art therapy, digital art, event technologies) is highlighted, while participating in a long-term international project and using ethno-cultural traditions as a cultural and spiritual resource of Ukrainians. The content of updated educational and professional programs, curricula, elective disciplines and certificate programs that ensure the development of art-communication competence of future musician specialists as the ability to trauma-informed care through art is outlined.

In 2020, an online support group for family caregivers of persons with dementia was established in the Pacific island of Guam. Initially, the support group was created to help family caregivers overcome the isolation they faced during the COVID‐19 pandemic. Caregivers met weekly online to share their experiences, participate in virtual consultations with dementia care specialists, and receive dementia care training. After four years, an in‐person conference was organized to bring together support group participants with the goal of strengthening the sense of community that had been established online. The conference incorporated a holistic approach to dementia care with a diverse range of speakers, including healthcare professionals, community agencies serving older adult populations, and family caregivers. It was a full‐day event held in a hotel ballroom to honor family caregivers and the important work they do. Attendance was free of charge with breakfast and lunch included. The conference had seven components: (1) a keynote address titled, “The Journey of Caregiving;” (2) a neurologist's presentation on Alzheimer's disease and other dementias; (3) a neuropsychologist's presentation on aging and dementia; (4) an art therapy session using clay, paint, and mandalas; (5) a meditation and chair yoga session; (6) personal stories shared by family caregivers highlighting challenges, successes, and insights from their caregiving journey; and (7) presentations by community based organizations on resources for older adult populations. Throughout the conference, family caregivers were given the opportunity to connect with one another, meet dementia care specialists, and become part of a community dedicated to the care of older adults. The conference was well attended with over 200 participants including family caregivers, persons with dementia, healthcare professionals, and university students. Participants gave overwhelmingly positive feedback and requested that the conference become an annual event. In conclusion, specialized conferences for family caregivers of persons with dementia can serve as an effective way to provide valuable information on dementia and dementia care support services, to offer therapeutic interventions designed for caregivers and older adults, to create a space for sharing caregiving stories, and to strengthen ties within the dementia care community.

BackgroundAs the global aging population is estimated to double from 2015 to 2050, it has become increasingly critical to address cognitive and behavioral decline in elderly populations—particularly those living in nursing home facilities. In this review, we aim to holistically assess the effectiveness of routine art‐based activities and mentally stimulating tasks as interventions for addressing depression and cognitive deterioration prevalent in nursing homes.MethodThe literature reviewed employed a randomized controlled trial in which nursing home residents were divided into an art‐based therapy group (painting, and drawing), mentally stimulating task groups (basic arithmetic, reading comprehension, and memory games), as well as a control group. Sessions were conducted three to five times per week consisting of 60‐120 minutes of engaged activity. Cognitive function was measured using the Mini‐mental State Examination (MMSE), the Frontal Assessment Battery (FAB), and the Geriatric Depression Scale (GDS). Surveys were utilized to gauge perceived benefits.ResultsMultiple cognitive and emotional assessments from this cross‐literature review revealed the prominence of loneliness and limited mental stimulation in nursing home residents, often exacerbated by neglect and resource limitations. Structured interventions such as art therapy showed improved mood, boosted self‐esteem, and reduced loneliness and depression. Intellectually stimulating tasks like arithmetic and reading revealed heightened cognitive functioning, particularly in memory, attention, and executive functioning.ConclusionThis literature review highlights the value of structured and interactive non‐pharmacological interventions in improving social engagement, cognitive functioning, and emotional well‐being in nursing home residents.

EDUCATIONAL INNOVATION: SYNERGY OF ART THERAPY AND PLAY-BASED LEARNING IN PRESCHOOL AND PRIMARY SCHOOL AGE

Sharing the disaster experiences of individuals helps to better understand the psychological effects that disasters can have on people. The earthquake cente-red in Kahramanmaraş on February 6, 2023 caused many people to be directly or indirectly affected psychologically. In this study, the psychological effects and experien-ces of the process were shared by the Department of Emergency Aid and Disaster Management students between the ages of 21-26, who participated in volun-teer activities in the disaster area and were directly or indirectly exposed to the February 6 earthquake. For this purpose, students were asked to draw three open-ended questions and a picture about the first topic that came to their minds about disaster experiences in order to learn about their disaster experiences by applying the qualitative method study method. The obtained data were evaluated using the MaXQDA qualitative data analysis program. From a behavioral point of view, students are directly or indirectly affected by this disaster, deaths and difficult and limited conditions physically, emotio-nally and behaviorally; In particular, it has been ob-served that the importance of staying calm without panicking and the selection of solid buildings come to the fore. In addition, it is suggested that the use of art therapy applications in further explaining the psychological impact caused by the disasters may be useful in further detailing the conditions that cannot be put into words in terms of disasters and that furt-her studies by experts may be useful in this regard.

My name is Laura Beaubrun. I am a dancer, choreographer, art therapist, and educator. Originally from Haiti, I have been living in Lausanne, Switzerland, since 2001. Today, I wish to share an intimate and transformative experience that manifested through my body and through dance—an experience that revealed me to myself and opened the path to a deep reconnection with my ancestral heritage. This journey began with traditional Haitian and Vodou music, more specifically through the song Simbi Dlo, an ode to the spirit of water, performed by my brother Paul Beaubrun. It was a revelation: my body became a space of memory, a bridge between generations, between the visible and the invisible. Dance, as an embodied language, became the channel through which this memory was reactivated, allowing me to access buried dimensions of my being and my history.

ABSTRACT This study aims to test the effect of combining art and music therapies administered through interactive television, to curtail post-traumatic stress disorder (PTSD) of school children who have experienced kidnapping. A quasi-experiment was carried out in two selected secondary schools. The study sample comprised 450 students divided into a control group of 225 and an experiment group of 225. The treatment group was further divided into art (N = 75), music (N = 75) and art combined with music therapy groups (N = 75), respectively. Results suggest that interactive TV-based music therapy alone, art therapy alone, and art plus music therapy are effective intervention strategies for reducing the PTSD of school children who have experienced kidnapping in Nigeria (effect size = .471). Compared to interactive TV-based music therapy or art therapy alone, interactive TV-based art plus music treatment is more successful in reducing PTSD (effect size = .544). We recommend the introduction of interactive TV-based music and art therapy to reduce the PTSD of children who survived kidnapping. More focus should be placed on combining art with music therapy, which is more effective in curtailing children’s PTSD.

Rising divorce rates in Mexico highlight the need to address the emotional and relational effects of family transitions on children. This conceptual-clinical paper presents an integrative art therapy framework that weaves narrative, systemic, and attachment perspectives through the creation of a family book, a creative ritual that functions as both a narrative container and a transitional object. Grounded in clinical practice, this process supports emotional expression, meaning making, and the strengthening of family bonds within reconfigured family systems. Using a case illustration, the paper shows how collaborative art-making fosters communication, resilience, and secure attachment during parental separation. The discussion emphasizes the relevance of creative therapeutic rituals for supporting adaptation, reducing emotional distress, and promoting continuity across homes. This approach positions family-centered art therapy as a valuable component of clinical practice and emerging policy initiatives aimed at safeguarding children's emotional well-being during divorce.

The aim of this article is to attempt to reflect on the impact of art on the processes of creative transformations of life, mainly from a hermeneutic-phenomenological perspective. The issue seems important, if only because of the discrepancy between theory and practice in the perception of art and creativity. While art is theoretically attributed with important functions, such as the ability to transform human life or shape the vision of the world, in practice artistic activities are often trivialized and their connections with broadly understood creative thought processes and life transformations are not noticed. As if there were no connections between art and broadly understood creativity or there were no connections between them and other matters important to man. This problem seems to be close to those who connect art and artistic creativity with educational activity. Here we can mention art educators, aesthetic educators, art educators or art therapists. Their work, according to Rudolf Arnheim (2013), is often marginalized, and artistic activities are treated as entertainment and pleasure, not requiring intellectual engagement. Meanwhile, acquiring creative experiences is a complex and to some extent unpleasant process, requiring the abandonment of self-satisfaction and opening up to new things, which involves the need to expand knowledge and disappointment. In this approach, it seems particularly important to analyze the meaning of 'experience' and the issue of turning towards basic questions and a sense of dissatisfaction. The above aspects can constitute the basis for creative 'transformations of the spirit' that resonate with the world of art.