Documenti di Didattica
Documenti di Professioni
Documenti di Cultura
5
8
Table 2
Consensus-based results of the treatment of destructive aggression by means of arts therapies (selection of data)
Drama therapy Music therapy Art therapy Dance-movement therapy
Indications Regular aggressive behaviors Lack of contact with own aggressive
feelings
Being irritated quickly Uncontrolled aggressive
outbursts during which the
patient cannot control his body
Lack of insight in own aggression Avoiding conicts Suppressed anger that explodes in
uncontrolled destructive aggression
Screaming and expressing
anger in interaction
Unable to regulate aggression Unable to regulate aggression Unable to regulate aggression Unable to control aggression
Goals Insight into ones personal
aggression history
To make contact with ones
aggressive feelings
Insight into the process of aggression
development
Insight in the process of
aggression development
Insight into stimuli that evoke
aggression and the process of
aggression development
To permit and express aggression Recognizing risky events To handle power and lack of
power, being big and small
Recognition of ones personal
aggression thermometer and
ones non-verbal signals of
aggression
Aggression regulation To handle cognitions and feelings
during events that might lead to an
offense
To handle frustration, tension,
anger, anxiety, aggression,
violence
Being able to use techniques of
aggression to decrease aggression
Being able to handle conicts Developing self control during risky
events
Being able to reconstruct risky
events
Being able to handle stimuli that
evoke aggression
To handle aggression To accept that suppressing
feelings leads to uncontrolled
outbursts
Being able to stop aggression
immediately
Sublimation of destructive aggression
into constructive aggression
To learn how to express
feelings without hurting oneself
and other people
Sublimation of destructive
aggression into constructive
aggression
Sublimation of destructive
aggression into constructive
aggression
Interventions General line of treatment: General line of treatment: General line of treatment: General line of treatment:
H
.
S
m
e
i
j
s
t
e
r
s
,
G
.
C
l
e
v
e
n
/
T
h
e
A
r
t
s
i
n
P
s
y
c
h
o
t
h
e
r
a
p
y
3
3
(
2
0
0
6
)
3
7
5
8
4
7
Reach insight into and change
aggressive behavior
Reach insight into and change
aggressive behavior
Reach insight into and change
aggressive behavior
Reach insight into and
change aggressive behavior
Activities Activities Activities Activities
Going through the aggression
history in several life times
Together with the music therapist
play The cat that hunts, and kills the
mouse, exchanging roles
Working with water paint, using
another color before the rst one is
dry
Learn how to experience the
increase of aggression through
body signals
Scene work to explore: Express feelings like anger and
aggression; one person is playing, the
other is guessing which feeling has
been expressed
Alternating between constructing
and deconstructing (destroying,
burning, tearing apart)
Learn how to decrease the
increase of aggression by
means of changing body
reactions
Sorts of aggression Choosing on a scale from 0 to 100
which level of aggression the patient
wants to express. Rising the level
aggression from 0 to the level that
has been chosen and going back
Exploding within borders When aggression increases
focusing on functional
movements
Cognitions and emotions A ght on musical instruments Gradual exposure to materials with
resistance (hardness, weight, format):
Using strength in controlled
situations and movements (tug
of war) where you can hurt
nobody
Role-play of events where the
patient acted aggressively
YES/NO plays Working with stones Thematic techniques: power
and lack of power, big and
small, anger, aggression,
violence, anxiety, hyperactivity,
tension, frustration
Playing:
Using an aggression
thermometer (010) to schedule
events linked to levels of
aggression
Improvisation on percussions Working with strong physical
efforts
Hunter and hare
Role-play low risk events from
daily practice and increasing the
tension level, then:
Using words including feelings,
destructive coping behavior
(aggression, drugs abuse)
Depicting how the patient looses
control in the offense (sudden
changes in the art process)
Defending your territory
Confronting, looking for the
most frustrating stimulus of the
event
Giving structure to aggression by
learning how to play the drums
Painting stop signals Catch and free
4
8
H
.
S
m
e
i
j
s
t
e
r
s
,
G
.
C
l
e
v
e
n
/
T
h
e
A
r
t
s
i
n
P
s
y
c
h
o
t
h
e
r
a
p
y
3
3
(
2
0
0
6
)
3
7
5
8
Table 2 (Continued )
Drama therapy Music therapy Art therapy Dance-movement therapy
Learn how to stop the
behavioral outburst
Researching the cognitions,
feelings and behaviors during the
offense
Painting lack of power Pretended ghts (hitting
at a distance)
Exploring alternative
behaviors
Playing the victim on the musical
instrument
Painting ones mist between
inner power and outer burdens
Fighting with sticks
against the wall and with
cushions
Connecting the low risk
event with the offense
Painting ones pitfalls Techniques of distancing
Learn to anticipate high risk
situations in the future
Learn how to behave different Using rules during play and
stops
The boxing ring
Scene work with high status
roles
Pretended ghts
Theatre of statues, tableaux
vivants
Joe Blaggs
Effects Insight in ones personal
aggression increases
Less experience of stress, anger
and frustration
Openness to the offense Admitting ones anger
Acting differently in conict
situations outside therapy
A decrease of anger Feeling responsible for the offense To understand and control
ones anger
For instance: Supporting others Perceive risk factors Expressing power in a
controlled way
Not hitting Insight into ones cognitive
distortions
Express aggression at the
right moment and in the right
way
Staying at a distance Reecting ones personal
development and experiences
Being more relaxed
Using a time out (visiting
ones room)
Experiencing the victim as
innocent
To understand ones borders
and stop behavior at an early
stage
Not slapping with doors Behaving differently
Not screaming
H. Smeijsters, G. Cleven / The Arts in Psychotherapy 33 (2006) 3758 49
The consensus-based rationales that were developed as a result of the research are
described below.
Rationales
Drama therapy
Drama therapy allows distancing so it is possible to analyze cognitions before and during
aggression. Because of ctive dramatic play the patient can explore aggressive scenes and
reach insight into stimuli and his or her cognitions. The patient can reach insight into his
or her inner conicts concerning status and respect. Dramatic play gives the opportunity
to develop the ability to regulate aggression. This ability can be transferred to realistic
role-play.
Music therapy
Musical instruments and parameters offer the opportunity to express aggression in a
constructive way. The aggressive energy can become a part of the musical process. The
music therapist can take part in the aggressive outburst, contain it and help the patient to
express and regulate his aggression. Working in the music and being contained by the music
therapist gives the patient a feeling of security when exploring his aggression.
Art therapy
In art therapy materials and techniques can be used to evoke and release aggression.
Expressing aggression in art material safely helps to explore ones aggression. Using art
materials makes it possible to be in contact with ones cognitions, feelings and behaviors.
Visual art forms make it possible to picture the events, cognitions, feelings and behav-
iors that went along with the persons crime. By reecting on the image the patient can
be confronted. Behaviors like grasping, hitting or petting can be transformed into artistic
behaviors.
Dance-movement therapy
Aggressive behaviors have strong body and movement characteristics. Dance-movement
therapy works with body and movement and therefore can evoke destructive bodily and
movemental powers. Patients are afraid of their destructive behaviors, which are suppressed
but suddenly can come to an outburst. They did not learn to symbolically express power
less destructively. In dance-movement therapy, dance and movement are used to express
suppressed destructive aggression in an acceptable way, and to nd alternative behaviors.
Comments
All arts therapists sampled chose a lack of aggression regulation as an indication for treat-
ment. Drama, art, and dance-movement therapists mentioned aggressive behavior. Drama
therapists also focused on a lack of insight, music therapists on a lack of contact with
personal feelings and avoiding conicts, and art therapists on the saving up of anger.
All arts therapists used reaching insight as a goal. Learning how to control aggression
stimuli was used in drama, art, and dance-movement therapy. Drama, art, and dance-
movement therapists also took the transfer of destructive into constructive aggression as
50 H. Smeijsters, G. Cleven / The Arts in Psychotherapy 33 (2006) 3758
a goal. Music and dance-movement therapists mentioned accepting and releasing aggres-
sion. Drama and art therapists focused on stopping aggression. Drama therapists also chose
relaxation as a goal, music therapists handling conicts, art therapists controlling thoughts
and feelings, and dance-movement therapists handling power and lack of power.
There were many interventions. All modalities used playforms for power and status, pre-
tended ghts and quarrel in the art form. Drama, music and art therapists explored thoughts,
feelings, and behaviors during the offense. Drama, art, and dance-movement therapists used
stop rules. Drama and music therapists worked with an aggression thermometer. Art and
dance-movement therapists worked with control giving way to power. Drama therapists
went into the aggression history, and also played little risk situations from daily life. Music
therapists worked with frustration tolerance training and used play forms to express feelings.
Drama and dance-movement therapy indicated as an effect the ability to react differently.
Music and dance-movement therapy led to a decrease of anger. Music therapy resulted in a
change of feeling, art therapy in the decrease of cognitive distortions, and dance-movement
therapy in expressing anger in a more controlled way.
Drama therapists saw as a rationale for the effect of drama therapy the possibility to
explore by distancing and ctive role cognitions and to explore and train alternative behav-
iors. Music therapists sawthe musical instruments, the musical parameters, and the musical
interaction as an opportunity to express aggression in a social context and to learn how
to control it. Art therapists mentioned the characteristics of the art material as a possibil-
ity to experiment with the expression of aggression. Depicting the offense in an image in
their opinion was a means to decrease cognitive distortions. Dance-movement therapists
stressed the fact that in dance and movement the physical aspect of destructive aggression
are expressed and changed.
Table 3 gives a summary of all therapeutic categories for all arts therapies.
In Table 3, in most cases a coherent clinical reasoning process can be seen, which means
that all aspects of treatment (indication, goal, intervention, effect, rationale) were connected
to each other. Sometimes, however, the link between treatments aspects was not manifest.
Table 4 based on Table 3, shows how the clinical reasoning process can become explicit for
all treatment aspects. The authors additions have been put in italics.
Discussion
From the literature it can be seen that arts therapies strongly focus on behavior and
emotions. The play forms are aimed to go into life history, to express emotions, to interact,
and to strengthen social, emotional, physical and cognitive competencies. Arts therapies
work with a combination of experiencing and acting; with a stable structure in the art form.
Patients learn how to think, feel and act differently as well as give different meanings to
their experiences. This is possible because in arts therapies concrete scenes are explored in
which it is almost impossible to hide ones thoughts, emotions, and behavior.
Arts therapies explore the onset and characteristics of the offense and help patients to
recognize and inuence the thoughts, feelings and behavioral signals that are linked to the
offense. Through structured play formswith roles, scenes, listening exercises, improvi-
sations, art images and forms, body exercises, and movement arrangementsbehaviors,
H. Smeijsters, G. Cleven / The Arts in Psychotherapy 33 (2006) 3758 51
Table 3
Summary of the treatment of destructive aggression by means of arts therapies
Drama Music Art Dance-
movement
Indications
Lack of aggression regulation X X X X
Aggressive behaviors X X X
Lack of insight X
Lack of contact with ones feelings X
To avoid conicts X
Suppressing anger X
Goals
To reach insight X X X X
To control aggression stimuli X X X
To transform destructive in constructive behavior X X X
To express aggression X X
To stop aggression X X
Relaxation X
To handle conicts X
To control cognitions and feelings X
To handle power and lack of power X
Interventions
Playforms with power and status X X X X
Pretended ghts X X X X
Exploring cognitions, feelings and behaviors X X X
Stop rules X X X
Aggression thermometer X X
Controlled strength X X
Aggression history X
Low risk events X
Frustration tolerance training X
Expression of feelings X
Effects
Behaving differently X X
Less anger X X
Change of feeling X
Less cognitive distortion X
Expressing anger differently X
Rationales
Distancing in ctive scenes and roles X
Musical instruments, parameters and interaction X
Obstinate art material X
Imaging X
Expression in body and movement X
feelings and cognitions are transformed. Attachment problems, developmental and psychi-
atric disturbances are positively inuenced by strengthening self-expression, self-esteem
and empathy. A shared rationale of arts therapists is that by expressing thoughts, feelings
and actions in art forms it is possible to inuence these expressions hands on and explore
and develop new thoughts, feelings and actions.
5
2
H
.
S
m
e
i
j
s
t
e
r
s
,
G
.
C
l
e
v
e
n
/
T
h
e
A
r
t
s
i
n
P
s
y
c
h
o
t
h
e
r
a
p
y
3
3
(
2
0
0
6
)
3
7
5
8
Table 4
Examples of coherent clinical reasoning process
Indication Goal Intervention Effect Rationale
Drama Aggressive behaviors To control aggression stimuli Low risk events Behaving differently Distancing in ctive
scenes and roles
Music Lack of contact with
ones feelings
To contact personal feelings Expression of feelings Change of feeling Musical instruments,
parameters and
interaction
Art Lack of insight To reach insight Exploring cognitions,
feelings and behaviors
Less cognitive distortion Imaging
Dance-movement Lack of aggression
regulation
To transform destructive into
constructive behavior
Controlled strength Expressing anger
differently
Expression in body and
movement
H. Smeijsters, G. Cleven / The Arts in Psychotherapy 33 (2006) 3758 53
The research resulted in several consensus-based areas of treatment such as patients
limited perception, compulsive control, lack of emotional expression and empathy, high
emotional tension, impulsivity, lack of interpersonal boundaries, and destructive aggres-
sion. These problem areas form a bridge between disturbances and offensive behaviors.
Impulsivity for instance is related to addiction; limited perception is related to psychotic
disturbances. Other problem areas are related to personality disorders, attention decit
hyperactivity disorder, and mental handicaps. When the offense has been committed by
a patient with a particular disturbance, the problem areas that are connected to this dis-
turbance will be the focus of treatment. Interventions in drama, music, art, dance, and
movement show the psychological limitations and possibilities of patients. The arts thera-
pies confront forensic patients with their lack of emotions, dysfunction of cognitions and
behaviors. By experiencing and acting it is possible to increase tension regulation, impulse
control, aggression regulation, empathy, interaction, and the strengthening of boundaries.
This research makes explicit the tacit knowledge of a group of arts therapists. By
doing this it is possible to analyze, compare and integrate the implicit body of knowledge
this group of arts therapists developed while working with their patients. This research
made a cross-analysis of tacit knowledge of several arts therapists, which resulted in a
consensus-based body of knowledge, the collective sense of the profession so to speak.
The effects listed in this research study reect the effects as perceived by the surveyed arts
therapists. These effects are consensus-based, but not experimentally researched. Therefore,
we are planning another research study of effects that is closely linked to clinical practice,
but is more experimentally oriented, in which baseline phases, treatment phases and control
conditions are precisely observed and correlated with other assessment scales like scales
for recidivism. The results of this qualitative study will act as an input for the next research
study and we hope to transform these data into an assessment scale and treatment plan.
The arts therapists reported experiencing this interaction with the researcher as very
fruitful because they were stimulated to reect on their experiences and conceptualize what
they were doing. For them, this led to empowerment that they hoped would strengthen their
future treatment interventions and also their rationales within their multidisciplinary teams.
Hopefully, due to this research where respondents at several stages were confronted with
analyses of data, the reective practitioner could develop into a scientic practitioner
who not only acts as an individual respondent, but also as a co-researcher. Because the
respondents acted as co-researchers, this may have led to an increase of their scientic
competencies.
The information gathered by this research can be used in everyday clinical practice when
the goal is to inuence destructive aggression of forensic patients. The body of knowledge
is consensus-based, as listed in Table 2. However, this information should not be used as a
protocol without variation. Eachindividual art therapist shouldreect onthe transferability
of these data to his or her own setting and patients.
Acknowledgements
Thanks to all arts therapists and students who participated in this research. Thanks to the
members of the KenVaK team who were involved with peer debrieng. This research is a
54 H. Smeijsters, G. Cleven / The Arts in Psychotherapy 33 (2006) 3758
joint project by KenVaK, and the GGzE, the Institute for Forensic and Intensive Psychiatry
in Eindhoven. The research results have been published as a book by the EFP, the national
Centre of Expertise for Forensic Psychiatry in Utrecht. Thanks to Cheyenne Mize at the
University of Louisville for her advice in preparing this article.
References
Argante, R. (1999). Muziektherapie ten behoeve van het dagprogramma seksueel delinquenten [Music therapy
for a day treatment program of sexual delinquents]. Workshop gehouden tijdens de SCRET-studiedag Dag-
behandeling van zedendelinquenten [Workshop during the SCRET Symposium Day treatment of sexual
delinquents]. Eindhoven: GGzE.
Baeten, N. (2001). Observatie en analyze van beeldend werk [Observation and analysis of art work]. Workshop
tijdens de StudiedagCreatief Therapeutenbinnende Forensische Psychiatrie [Workshopduringthe Symposium
Arts Therapies in Forensic Psychiatry]. Utrecht: Dr. F.S. Meijerskliniek.
Baeten, N. (2005). Beeldende therapie creatieve therapie in de praktijk [Creative art therapy in practice]. Utrecht:
Flevo Future.
Bennink, J., Gussak, D. E., & Skowran, M. (2003). The role of the art therapist in a Juvenile Justice Setting. The
Arts in Psychotherapy, 30(3), 163173.
Brewster, L. G. (1983). An evaluation of the arts-in-corrections programme of the California Department of
Corrections. Prepared for the William James Association, Santa Cruz, California and California Department
of Corrections.
Broek, R. van den (2000a). Inleiding over de Pompekliniek [Introduction about the Pompe clinic]. Studiedag Dra-
matherapeuten in de Forensische Psychiatrie [SymposiumDramatherapists in Forensic Psychiatry], Nijmegen.
Broek, R. van den (2000b). Workshop empathie [Workshop empathy]. Studiedag Dramatherapeuten in de Foren-
sische Psychiatrie [Symposium Dramatherapists in Forensic Psychiatry], Nijmegen.
Buck, J. N. (1987). House tree person test. Los Angeles, CA: Western Psychological Services.
Chandler, M. (1973). Egocentrism and antisocial behaviour: The assessment and training of social perspective
taking skills. Developmental Psychology, 44, 326333.
Charmaz, K. (2000). Grounded theory objectivist and constuctivist methods. In N. K. Denzin & Y. S. Lincoln
(Eds.), Handbook of qualitative research (pp. 509535). London: Sage Publications.
Cleven, G. (1998a). De toepassing van vaktherapie en in de daderbehandeling [Arts therapies in the treatment of
offenders]. Eindhoven: GGzE FPC.
Cleven, G. (1998b). Van inspiratie naar integratie. Over observatiemethodiek in dramatherapie [From inspiration
to integration. Assessment in drama therapy]. Tijdschrift voor Creatieve Therapie, 17(4), 2023.
Cleven, G. (1999). Dramatherapie ten behoeve van het dagprogramma seksueel delinquenten [Drama therapy as
part of the day treatment program for sexual delinquents]. Workshop gehouden tijdens de SCRET-studiedag
Dagbehandeling van zedendelinquenten [Workshop during the SCRET SymposiumDay treatment of sexual
delinquents]. Eindhoven: GGzE.
Cleven, G. (2003). Het rollenrepertoire van cli enten met een persoonlijkheidsstoornis. Het rollenrepertoire is
driedimensionale actie [The role repertoire of clients with a personality disturbance. The role repertoire is
three-dimensional action]. In I. Graumans (Red.). Storing verplicht?! Over het onvermogen emoties te hanteren
(pp. 2128) [Disturbance obliged?! About the helplessness to handle emotions]. Eindhoven: GGzE.
Cleven, G. (2004). In Sc` ene. Dramatherapie en ervaringsgerichte werkvormen in hulpverlening en begeleiding
[In sc` ene. Drama therapy and experiential play forms in treatment and support]. Houten: Bohn Staeu van
Loghum.
Codding, P. A. (2002). A comprehensive survey of music therapists practicing in correctional psychiatry: Demo-
graphics, conditions of employment, service position, assessment, therapeutic objectives, and related values
of the therapist. Music Therapy Perspectives, 20(2), 5668.
Cogan, K. B., & Paulson, B. L. (1998). Picking up the pieces: Brief report on inmates experiences of a family
violence drama project. The Arts in Psychotherapy, 25(1), 3743.
Cruz, R. F., & Sabers, D. L. (1998). Dance/movement therapy is more effective than previously reported. The Arts
in Psychotherapy, 25(2), 101104.
H. Smeijsters, G. Cleven / The Arts in Psychotherapy 33 (2006) 3758 55
Dalessi, A. (1997). Roofdieren in een kooi. Danstherapie in de behandeling van een groep zedendelinquenten
[Animals in a cage. Dance therapy in the treatment of a group of sexual delinquents]. Tijdschrift voor Creatieve
Therapie, 16(3), 2631.
Damen, M. (2000). Indicatiestelling bij de non-verbale therapie en van het forensisch psychiatrisch circuit van
de GGzE. Een concept mapping project ter ontwikkeling van een indicatieschaal [Indications for nonverbal
therapies in the forensic psychiatric unit of the GGzE. A concept mapping project for the development of an
indication scale]. Eindverslag, Eindhoven: GGzE.
Damen, M. (2001). Een indicatieschaal voor de non-verbale therapie en [An indication scale for nonverbal thera-
pies]. Tijdschrift voor Creatieve Therapie, 20(1), 2023.
Daveson, B. A., & Edwards, J. (2001). A descriptive study exploring the role of music therapy in prisons. The Arts
in Psychotherapy, 28(2), 137141.
Diagnostic and Statistical Manual of Mental Disorders (DSM-IV). (1994). American Psychiatric Association.
DiGiorgio, D. (1988). Three theoretical perspectives onaggressionwithimplications inthe eldof dance/movement
therapy. Philadelphia: Hahnemann University.
Douma, N. (1994). Kreatieve therapie onder dwang? [Creative therapy under pressure]. Tijdschrift voor Kreatieve
Therapie, 13(4), 126128.
Drieschner, K. (1997). Vermindering van boosheid door muziektherapie: een gecontroleerd effectonderzoek met
forensisch psychiatrische cli enten [The reduction of anger by means of music therapy: A controlled effect
study with forensic psychiatric clients]. Amsterdam: Universiteit van Amsterdam.
Flower, C. (1993). Control and creativity. Music therapy with adolescents in secure care. In M. Heal & T. Wigram
(Eds.), Music therapy in health and education (pp. 4045). London: Jessica Kingsley Publishers.
Fulford, M. (2002). Overviewof a music therapy programat a maximumsecurity unit of a state psychiatric facility.
Music Therapy Perspectives, 20(2), 112116.
Gallagher, L. M., &Steele, A. L. (2002). Music therapy with offenders in a substance abuse/mental illness treatment
program. Music Therapy Perspectives, 20(2), 117122.
Gerber, J. (1994). The use of art therapy in juvenile sex offender specic treatment. The Arts in Psychotherapy,
21(5), 367374.
Glaser, B. G. (1992). Basics of grounded theory analysis: Emergence versus forcing. Mill Valley, CA: Sociology
Press.
Gussak, D. (1997). Breaking through barriers: Art therapy in prisons. In D. Gussak & E. Virshup (Eds.), Drawing
time: Art therapy in prisons and other correctional settings. Chicago, IL: Magnolia Street.
Gussak, D., &Cohen-Liebmann, M. (2001). Investigation versus intervention: Forensic art therapy and art therapy
in forensics settings. American Journal of Art Therapy, 40(2), 123135.
Gussak, D., & Virshup, E. (Eds.). (1997). Drawing time: Art therapy in prisons and other correctional settings.
Chicago, IL: Magnolia Street.
Haeyen, S. (2004). Verbindend werk. Beeldende therapie met borderline-cli enten op basis van de dialectische
gedragstherapie van Linehan [Work that connects. Art therapy with borderline clients based on the dialectical
behaviortherapy of Linehan]. Tijdschrift voor Creatieve Therapie, 23(1), 510.
Hagood, M. (1998). Group art therapy with adolescent sex offenders. An American experience. In M. Liebmann
(Ed.), Art therapy with offenders (pp. 197219). London: Jessica Kingsley Publishers.
Hakvoort, L. (1996). Patterns between indication for music therapy and characteristics of musical improvisation
of forensic patients. Paper presented at the 8th World Congress of Music Therapy, Hamburg.
Hakvoort, L. (2002a). A music therapy anger management program for forensic offenders. Music Therapy Per-
spectives, 20(2), 123132.
Hakvoort, L. (2002b). Observation and treatment criteria in music therapy for forensic patients. Paper presented
at the 10th World Congress of Music Therapy, Oxford.
Hakvoort, L. & Emmerik, J. van (2001). Diagnostiek en observatie in de Dr. F.S. Meijerskliniek [Diagnosis and
observation in the Dr. F.S. Meijers clinic]. Presentatie tijdens de Studiedag Creatief Therapeuten binnen de
Forensische Psychiatrie [Presentation during the Symposium Arts Therapies in Forensic Psychiatry]. Utrecht:
Dr. F.S. Meijerskliniek.
H orschl ager, K. (2000a). Indicatiestelling bij de non-verbale therapie en van het forensisch psychiatrisch circuit
van de GGzE. Deel II Work in progress. Operationalisatie van probleemgebieden ter ontwikkeling van een
indicatieschaal [Indications for nonverbal therapies in the forensic psychiatric unit of the GGzE Part II Work
56 H. Smeijsters, G. Cleven / The Arts in Psychotherapy 33 (2006) 3758
in progress. Operationalization of problem areas for the development of an indication scale]. Eindverslag,
Eindhoven: GGzE.
H orschl ager, K. (2000b). Indicatiestelling bij de non-verbale therapie en van het forensisch psychiatrisch circuit
van de GGzE. Deel III. Op weg van een individuele waarneming en beschrijving naar een gemeenschappelijke
waarneming en beschrijving van probleemgebieden [Indications for nonverbal therapies in the forensic psy-
chiatric unit of the GGzE. Part III. From individual perception and description to the collective perception and
description of problem areas]. Eindverslag, Eindhoven: GGzE.
H orschl ager, K., &Cleven, G. (2002). Indicatiestelling bij non-verbale therapie en van het forensisch psychiatrisch
cirquit van de GGzE [Indications for nonverbal therapies in the forensic psychiatric unit of the GGzE]. Lezing
tijdens het NVCT Symposium, 7 juni [Paper presented during the NVCT Symposium].
Hoskyns, S. (1988). Studying group music therapy with adult offenders: Research in progress. Psychology of
Music, 16, 2541.
Johnson, D. R. (2002). Creatieve therapie bij getraumatiseerde mensen [Creative therapy for traumatized peo-
ple]. Lezing tijdens het Symposium Tijdsbesef van de NVCT [Paper presented during the Symposium Time
consciousness of the NVCT].
Kampen, E. (2001). Module creatieve therapie beeldend. Zorgprogramma 3 Seksuele stoornissen: delictketen
groep [Treatment module creative art therapy. Treatment program 3 sexual disturbances: Chain of offense
group]. Venray: De Rooyse Wissel.
Kampen, E. (2004). De innerlijke observator als bewaker van delinquent gedrag. De reectieve functie als aan-
grijpingspunt en maat voor behandeling [The inner perspector as guard of delinquent behavior. Reection as
indication and measure for treatment]. Tijdschrift voor Creatieve Therapie, 23(2), 813.
Laban, R. (1998). The mastery of movement. Plymouth: Northcote House Publishers.
Landers, F. (2002). Dismantling violent forms of masculinity through developmental transformations. The Arts in
Psychotherapy, 29(1), 1929.
Lev-Wiesel, R., & Hershkovitz, D. (2000). Detecting violent aggressive behavior among male prisoners through
the Machover Draw-A-Person Test. The Arts in Psychotherapy, 27(3), 171177.
Liebmann, M. (1996a). Arts approaches to conict. London: Jessica Kingsley Publishers.
Liebmann, M. (1996b). The violent illusion: Drama therapy and the dangerous voyage to the heart of change. In
M. Liebmann (Ed.), Arts approaches to conict (pp. 92117). London: Jessica Kingsley Publishers.
Liebmann, M. (Ed.). (1998). Art therapy with offenders. London: Jessica Kingsley Publishers.
Lincoln, Y. S., & Guba, E. G. (1985). Naturalistic inquiry. Newbury Park, CA: Sage Publications.
Lincoln, Y. S., & Guba, E. G. (2000). Paradigmatic controversies, contradictions, and emerging conuences. In N.
K. Denzin &Y. S. Lincoln (Eds.), Handbook of qualitative research (pp. 163188). London: Sage Publications.
Linehan, M. M. (1996). Borderline persoonlijkheidsstoornis. Handleiding voor training en therapie [Bordeline
personality disorders. Manual for training and therapy]. Lisse: Swets & Zeitlinger.
Lopez, J. R., & Carolan, R. (2001). House-tree-person drawings and sex offenders: A pilot study. Art Therapy,
18(3), 158165.
Lusebrink, V. B. (1990). Imagery and visual expression in therapy. New York: Plenum Press.
Mayring, P. (1990). Qualitative Inhaltsanalyse. Grundlagen und Techniken [Qualitative content analysis. Funda-
mentals and techniques]. Weinheim: Deutscher Studien Verlag.
McCourt, E. (1998). Building up to a sunset. In M. Liebmann (Ed.), Art therapy with offenders (pp. 3956).
London: Jessica Kingsley Publishers.
Milliken, R. (2002). Dance/movement therapy as a creative arts therapy approach in prison to the treatment of
violence. The Arts in Psychotherapy, 29(4), 203206.
Mulder, J. (1995). Het terugvalpreventiemodel als behandelingsmethodiekineenforensische dagbehandelingsklin-
iek [The prevention of recidive model als treatment method in a forensic day treatment clinic]. Tijdschrift voor
Psychotherapie, 21(2), 119133.
Murphy, J. (1998). Mists anddarkness. Art therapywithlongtermprisoners ina highsecurityprisonAtherapeutic
paradox? In M. Liebmann (Ed.), Art therapy with offenders (pp. 1438). London: Jessica Kingsley Publishers.
Peaker, A., & Vincent, J. (1990, December). Arts in prisons: Towards a sense of achievement. Home Ofce
Research and Planning Unit and the Arts Council.
Peeters, R. (2003). Workshop persoonlijkheidstoornissen en zedendelinquenten. Emoties binnen de themas
ontwikkelingsgeschiedenis, delictscenario en slachtofferempathie van een eendaagse deeltijd [Workshop per-
H. Smeijsters, G. Cleven / The Arts in Psychotherapy 33 (2006) 3758 57
sonality disorders and sequal delinquents. Emotions within the themes developmental history, offense scenario
and victimempathy of a one day parttime treatment]. In I. Graumans (Red.). Storing verplicht?! Over het onver-
mogen emoties te hanteren [Disturbance obliged?! About the helplessness to handle emotions]. Studiedag
SCRET, Eindhoven: GGzE.
Poel, T. van der (1997). Musiktherapie mit pers onlichkeitsgest orten sexualstraft atern in der Forensischen Psychi-
atrie [Music therapy in the treatment of sexual delinquents with personality disorders in forensic psychiatry].
In Hast du T one? Musik und Musiktherapie im Rheinland [Do you have sounds? Music and music therapy in
the Rheinland]. K oln: Landschaftverband Rheinland.
Poel, T. van der (1998). Musiktherapie mit pers onlichkeitsgest orten sexualstraft atern in der Forensischen Psychi-
atrie [Music therapy in the treatment of sexual delinquents with personality disorders in forensic psychiatry]
(p. 5). WsFPP.
Polanyi, M. (1967). The tacit dimension. London: Routledge Kegan Paul.
Reed, K. J. (2002). Music therapy treatment groups for mentally disordered offenders in a state hospital setting.
Music Therapy Perspectives, 20(2), 98104.
Riches, C. (1998). The hidden therapy of a prison art education programme. In M. Liebmann (Ed.), Art therapy
with offenders (pp. 77101). Jessica Kingsley Publishers: London.
Rio, R. E., & Tenney, K. S. (2002). Music therapy for juvenile offenders in residential treatment. Music Therapy
Perspectives, 20(2), 8997.
Santos, K. (1996). Woman patients in forensic psychiatryThe forgotten ones? In I. Nygaard Pedersen & L. Ole
Bonde (Eds.). Music therapy within multidisciplinary teams. Proceedings of the 3rd European Music Therapy
Conference (pp. 121127). Aalborg: Aalborg Universitetsforlag.
Schwandt, T. A. (2000). Three epistemological stances for qualitative inquiry. Interpretivism, hermeneutics, and
social constructionism. InN. K. Denzin&Y. S. Lincoln(Eds.), Handbook of qualitative research(pp. 189213).
London: Sage Publications.
Silver, R., & Ellison, J. (1995). Identifying and assessing self-images in drawings by delinquent adolescents. The
Arts in Psychotherapy, 22(4), 339352.
Skaggs, R. (1997). Music-centered creative arts in a sex offender treatment program for male juveniles. Music
Therapy Perspectives, 15(2), 7378.
Smeijsters, H. (1997). Multiple perspectives. A guide for qualitative research in music therapy. Gilsum, NH:
Barcelona Publishers.
Smeijsters, H. (2003a). Analogie als Kernkonzept der Musiktherapie. Eine psychologische und empirische Betra-
chtung [Analogy as the core concept of music therapy. A psychological and empirical essay]. Zeitschrift f ur
Musik-, Tanz- und Kunsttherapie, 14(1), 918.
Smeijsters, H. (2003b). Forms of feeling and forms of perception. The fundamentals of analogy in music therapy.
Nordic Journal of Music Therapy: Theory Building in Music TherapyAn International Archive, 12(1), 7185.
Smeijsters, H. (2003c). Handboek creatieve therapie [Handbook of the creative arts therapies]. Bussum: Coutinho.
Smeijsters, H. (2005). Sounding the self: Analogy in improvisational music therapy. Gilsum, NH: Barcelona
Publishers.
Smeijsters, H., & Cleven, G. (2004). Vaktherapie en in de forensische psychiatrie [Arts therapies in forensic
psychiatry]. Utrecht: EFP.
Stern, D. N. (1985). The interpersonal world of the infant. A view from psychoanalysis and developmental psy-
chology. New York: Basic Books.
Stern, D. N. (1995). The motherhood constellation: A unied view of parent-infant therapy. New York: Basic
Books.
Strauss, A., & Corbin, J. (1998). Basics of qualitative research: Grounded theory procedures and techniques.
London: Sage Publications.
Teasdale, C. (1997). Art therapy as part of a group therapy programme for personality disordered offenders.
Therapeutic Communities: The International Journal for Therapeutic and Supportive Organizations, 18(3),
209221.
Thaut, M. (1987). A new challenge for music therapy: The correctional setting. Music Therapy Perspectives, 4,
4450.
Thaut, M. (1989a). Music therapy, affect modication, and therapeutic change. Music Therapy Perspectives, 7,
5562.
58 H. Smeijsters, G. Cleven / The Arts in Psychotherapy 33 (2006) 3758
Thaut, M. (1989b). The inuence of music therapy interventions on self-rated changes in relaxation, affect, and
thought in psychiatric prisoner-patients. Journal of Music Therapy, 26, 155166.
Thaut, M. (1992). Music therapy in correctional psychiatry. In W. Davis, K. Gfeller, & M. Thaut (Eds.), An
introduction to music therapy: Theory and practice (pp. 273284). Dubuque, IA: W.C. Brown Publishers.
Thompson, J. (Ed.). (1998). Prison theatre: Perspectives and practices. London: Jessica Kingsley Publishers.
Thompson, J. (1999). Dramaworkshops for anger management andoffendingbehaviour. London: Jessica Kingsley
Publishers.
Timmer, S. (2000a). Delict-keten denken binnen dramatherapie. Dramatherapie in een forensisch psychiatrische
polikliniek [The use of the concept of the chain of offense in drama therapy. Drama therapy in a forensic
psychiatric poly-clinic]. Tijdschrift voor Creatieve Therapie, 19(1), 1218.
Timmer, S. (2000b). Inleiding over Kairos. Studiedag Dramatherapeuten in de Forensische Psychiatrie [Introduc-
tion about Kairos. Symposium Dramatherapists in Forensic Psychiatry]. Nijmegen.
Timmer, S. (2000c). Workshop agressieregulatie. Studiedag Dramatherapeuten in de Forensische Psychiatrie
[Workshop aggression regulation. Symposium Dramatherapists in Forensic Psychiatry]. Nijmegen.
Timmer, S. (2003). Werkwijzen dramatherapie in de forensische psychiatrie [Treatment modalities of drama
therapy in forensic psychiatry]. Nijmegen: Kairos-Pompestichting.
Timmer, S. (2004). Zanger gezocht. Dramatherapie binnen een schemagerichte behandeling voor zedendelin-
quenten [To nd a singer. Drama therapy within a scheme oriented treatment for sexual delinquents]. Tijdschrift
voor Creatieve Therapie, 23(1), 1116.
Wagner, M. (1997). Aanbod Kreatieve Therapie Muziek in de seksualiteitsgroep polikliniek. Interne publicatie
[Creative music therapy in the group of sexual delinquents in the poly-clinic. Internal publication]. Eindhoven:
GGzE.
Watson, D. M. (2002). Drumming and improvisation with adult male sex offenders. Music Therapy Perspectives,
20(2), 105111.
Winnicott, D. W. (1971). Playing and reality. London: Tavistock Publications.
Woods, P., Reed, V., & Collins, M. (2001). Measuring communication and social skills in a high security foren-
sic setting using the Behavioural Status Index (BSI). London: Florence Nightingale School of Nursing and
Midwifery, Kings College.
Wyatt, J. G. (2002). From the eld: Clinical resources for music therapy with juvenile offenders. Music Therapy
Perspectives, 20(2), 8088.