18 mai 2016 – Réunion Art-thérapeutes et The Red Pencil pour les victimes des attentats

Prochaine réunion

mercredi 18 mai 2016 à 18 heures

A la maison des associations de Clichy la Garenne
Salle Frantz Fanon

Métro Mairie de Clichy

Ligne 13




The Red Pencil est une association ayant le statut d’Institution d’utilité publique octroyé par le Ministère de la Famille et du Développement social de Singapour.

Notre vision

« Guérir le monde par les arts ».

Notre mission

« Apporter les bienfaits de l’Art-thérapie aux enfants, adultes et familles comme un moyen d’exprimer joie, équilibre et bien-être, avec une attention particulière à ceux qui traversent des circonstances bouleversantes pour lesquelles il n’y a pas de mots ».
The Red Pencil c’est aussi une vingtaine de missions dans une dizaine de pays pour quelques milliers de bénéficiaires et une ressource de plusieurs centaines d’Art-thérapeutes dans le monde.

L’objectif du projet

L’objectif est d’offrir un lieu d’accueil ouvert aux victimes directes et indirectes des attentats, avec des ateliers d’Art-Thérapie proposés 7 jours sur 7 par des professionnels accrédités.
L’objectif est aussi de faire grandir la profession d’Art-Thérapeute en France et sa prise de conscience.

Le projet

Le projet se réalisera sur 12 mois initialement dans des ateliers d’Art-Thérapie.
Des séances et suivis individuels peuvent se mettre en place selon les besoins des victimes et le déroulement des premiers ateliers.

Une vingtaine d’Art-thérapeutes professionnels basés à Paris ont répondu à notre appel et sont prêts à intervenir en tant que volontaires tout au long de 2016.

Comme tous les ateliers d’Art-Thérapie que The Red Pencil met en place la confidentialité sera de grande importance.
L’atelier doit être un endroit où les victimes se sentent en sécurité.

Bilateral Drawing: Self-Regulation for Trauma Reparation

Cathy Malchiodi PhD, LPCC, LPAT, ATR-BC, REAT
Sep 29 2015
Source: © 2015 Visual Journal Entry, Cathy Malchiodi

Bilateral Brain Art004In working with survivors of acute and repeated traumatic events over the last several decades, I am always particularly conscious of individuals’ self-regulating capacities initially and throughout our work together. Self-regulation is currently a ubiquitous term used to describe not only the capacity to control one’s impulses, but also to be able to soothe and calm the body’s reactions to stress. It is the ability to modulate affective, sensory and somatic responses that impact all functioning including emotions and cognition. It also refers to the brain’s executive function to control impulses, delay actions if necessary and initiate them if necessary, even if one does not want to.

Process of reparation

By the simplest definition, bilateral simply means “involving two sides.” Sensory integration is often associated with bilateral techniques that assist individuals in organizing specific sensations via methods found in occupational therapy. In the process of reparation from psychological trauma, various forms of bilateral stimulation or movement seem to be effective in engaging cross-hemisphere activity in the brain (Shapiro, 2001) and in art therapy possibly because it reconnects “thinking” and “feeling” (Malchiodi, 2003/2011) via the sensory-based processes involved in art making. These applications seem to have an impact on recovery from traumatic events because for many individuals, the limbic system and right hemisphere of the brain are hyperactivated by actual experiences or memories of trauma. In brief, specific processes found in bilateral stimulation may help regulate body and mind thus allowing explicit memory to be reconnected with implicit memory.

Bilateral drawing

Bilateral drawing is a deceptively simple art-based activity that has been around since at least the 1950s that capitalizes on self-regulating properties similar to rocking, walking, cycling or drumming. Some art therapy practitioners refer to bilateral drawing as “scribbling with both hands” because the intent is not necessarily to make a specific image, but to instead just engage both hands in spontaneous drawing with chalks, pastels or other easily manipulated art materials. Like many art and expressive arts therapists, I have used this activity for several decades and actually learned it during college art courses as a way of “loosening up” before beginning to draw or paint. Florence Cane (1951) is one of many early art therapy practitioners who observed a connection between free-form gestural drawing on paper, the kinesthetic sense involved in movement, and the embodied qualities of the experience. In her work with children and adults in the mid-20th century,

Large swinging gestures

Cane hypothesized that it is important to engage individuals through movements that go beyond the use of the hands to engage the whole body in natural rhythms. In particular, she refers to large swinging gestures that come from the shoulder, elbow or wrist to not only liberate creative expression, but also act in a restorative capacity to support healthy rhythms in the body and mind. In other words, these rhythmic movements can be practiced in the air and then later transferring them to paper with drawing materials.

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