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Arts therapies

The importance of creative expression to healthy human development and recovery from mental distress is well established across cultures. Indications from international, UK and Scottish research are that many people with mental health problems find the arts therapies helpful.

 

Introduction

 

The importance of creative expression to healthy human development and recovery from mental distress is well established across cultures. For people who have mental health problems, the arts therapies have specifically been developed to allow people to tap into their inner, creative resources while exploring personal issues in a safe, contained space with a trained arts therapist and a view to psychological change.

 

In the last two decades much interest has also been generated in the arts-in-health initiatives where engagement in the creative process per se is seen to have therapeutic value. This engagement is seen to promote general well-being including mental health. Indications from international, UK and Scottish research are that many people with mental health problems find the arts therapies helpful, either on their own or as part of a range of therapies, which may include medication and talking therapies.

 

People who experience the arts therapies have found that they provide a sense of choice and control compared to medication or talking therapies.

 

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UK development of the arts therapies

 

The Arts Therapies - (Art, Dance Movement, Drama and Music Therapy) - have their origins in early twentieth century psychiatry and its discovery of the unconscious. Some psychiatrists perceived that art tapped into unconscious processes and began to use it as a tool in their work. By the period around the Second World War, arts practitioners themselves and other professionals were exploring the potential of the arts in a different way. The work they did in hospitals showed that the process of making art, or drama, or music, was experienced by patients as healing and restorative. The 1960s and 1970s saw a period of developing into a profession with the establishment of professional associations and training courses.

 

The training of Arts Therapists requires a first degree (usually in one of the arts); followed by a post-graduate training which has a strong psychological component. In 1999, the professions of Art, Drama and Music Therapy became State Registered.

 

Dance Movement Therapy aims to achieve that status by 2004. State Registration means that the Arts Therapies are among the Professions Allied to Medicine and are a legitimate resource of treatment for those with mental health problems, learning disability or other impairment, such as a sensory impairment. Arts Therapists in the UK work in a variety of settings and across the age and need spectrum. Work settings include: hospitals (in and outpatient), community mental health teams, social work, prisons, the voluntary and private sectors, and schools. (Although most arts therapies services are based within a hospital or institutional setting).

 

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Current availability of arts therapies in the UK

 

Despite its potential, Arts Therapies provision across the UK, and especially in Scotland, is patchy with most provision in the South East of England and urban centres. Further, most arts therapies provision is within hospital settings, with fewer services available in community settings. There are several linked reasons for this situation:

 

  • Arts therapies only became formally recognised and state registered as health professions in 1999, and do not yet have sufficient influence over debates on resource allocation and service development at national or local levels

 

  • Awareness of arts therapies and their potential benefits remains relatively low amongst the public, people with mental health problems, policy makers and service commissioners

 

  • The evidence base for arts therapies is not yet sufficiently robust to persuade policy makers and service commissioners to make increased investment in arts therapies services.

 

Interestingly, whilst investment in arts therapies services in the UK is relatively low, investment in community arts initiatives, including those with a specific health remit, has been considerable over the last 5-10 years. These community arts initiatives are often explicitly linked to community development and regeneration programmes and evaluation demonstrates that they contribute to individual and community well-being.

 

Both arts therapies and community-based arts-in-health initiatives share a common base - that of using creative expression as a way of promoting well-being. Yet, despite this, the power of creative expression in its own right is not commonly identified as the basis for assessing the effectiveness of either arts therapies or community arts/arts-in-health initiatives.

 

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The arts-in-health movement

 

The origins of the arts-in-health movement (UK) lie with the work of such artists as Peter Senior, starting with his work in St Mary's Hospital Manchester in 1973. The Attenborough Report on Arts and the Disabled (1985) focused attention on the value of the arts and the healing process and lay the ground for a more structured approach with a growing number of organisations being set up with charitable status and developing outreach services to the community. This usually involves the commissioning of artists to work on special projects in the community.

 

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Strengthening links between arts therapies and community arts / arts in health

 

Whilst both arts therapies and community arts/arts in health initiatives recognise the importance of creativity to human well-being, links between these creative activities are weakly developed across the UK. This appears to be for two reasons:

 

  • Arts therapies are seen as very different to community arts/arts in health activity in that they have a defined clinical purpose and are most commonly located in hospital

 

  • In seeking to establish credibility for training purposes, arts therapists have tended to use existing psychotherapeutic theory rather than explore the inherent value of the creative process.

 

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Written in 2004

 

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