The majority of therapists who actively incorporate the arts into the practice of psychotherapy find themselves divided into schools and associations based on their choice of artistic discipline. Some of the more popular and organized disciplines include music therapy, art therapy, dance/movement therapy, drama therapy and poetry therapy.’ When therapists “cross over” and draw on multiple disciplines, as they do in the field of expressive therapy,* they can meet with opposition from their differently focused peers. The controversy on one side appears to be rooted in a concern about the competency of practitioners who spread themselves too thin. Mastery of each artistic discipline requires a lifetime of study and practice, so the argument goes; how could a therapist hope to master several? Art therapist Gladys Age11 (1982) put it this way: “A flirtation with materials is not enough. Only a love affair with materials can lead to a wedding of felt experience and formed expression. ” In this ongoing debate the arguments that favor specialization by artistic discipline are certainly reasonable-in view of the context from which they emerge. I want to present a different context, a different way of looking at the arts in psychotherapyone that finds its foundation in the age-old tradition of multiplicity in the practice of the arts. Intermodal expressive therapy neither requires nor promotes the mastery of several distinct schools of therapy, each of which finds focus in a single artistic discipline. Rather, it finds its primary focus in the artistic tradition that all the arts have in common. In other words, intermodal expressive therapy is a discipline unto itself, with its own theoretical framework and focus that evolved from different schools. Until now, unfortunately, they have not been addressed or articulated sufficiently in the literature. I intend to give an overview here of these theoretical frameworks. The artistic tradition that provides a basic foundation for the discipline of intermodal expressive therapy is rooted in human imagination and is characterized by an interrelatedness among the arts. It is the same tradition in which opera directors, choreographers, film-makers, theatre and performance artists need to train and gain eloquence. The most recent ones are the performance artists who strive for the expressive act that melts their own texts, sounds, images and movements in one cast. They challenge cliches and codes of the traditional arts establishment and promote the deconstruction of mechanisms of alienation. Therefore performance artists became an essential part of the postmodem move-
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