By Anne Bannister
As a probation officer and social employee, Anne Bannister has effectively used artistic cures with abused young children for 25 years. Combining her useful event and up to date doctoral study she displays on how and why those remedies truly paintings within the therapeutic strategy. She exhibits how in 'the house among' young ones and their therapists, the kid and grownup can every one use their inventive abilities to assist developmental techniques, opposite unfavourable mind styles and impact confident behavioural alterations to heal the wear as a result of serious abuse in formative years. the writer offers a realistic version referred to as the Regenerative method of use whilst assessing and dealing therapeutically with traumatised young children. Her study has implications for these operating within the box of kid's improvement and studying, and offers a major new technique for social employees, inventive therapists and all those that paintings with traumatised youngsters.
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Additional info for Creative Therapies with Traumatised Children
Example text
In fact, it is probably the case that the isolation, difficulties with communication and lack of relationships, caused by the trauma, make it impossible for the child to tell whether they receive bribes or threats or not. Of course, this lack of close relationships is probably related to the difficulties in making attachments and the problems of identity, which I have already discussed. It is not difficult to see that early traumatic experiences of child sexual abuse affect children throughout their lives.
He then describes ‘Projected Play’, in which the child incorporates other objects such as toys or drawing materials, etc. He makes it clear that both Personal and Projected Play continues, and is still very necessary for development, up to early adolescence. Then he stresses the importance of role play and what he terms ‘social drama’. Dramatherapy was further developed by anthropologist Sue Jennings (1987). She describes a period in the early sixties in Britain when the application of drama within the educational framework began to direct itself towards work in clinical areas.
In addition, much work has been published on somatic and emotional reactions to sexual abuse (Rapkin et al. 1990; Reiter and Gambone 1989; Rimsza, Berg and Locke 1988; Toomey et al. 1993; Walker et al. 1988 ). Writing about work with adolescents, dramatherapist Renee Emunah (1995) also stresses ‘identity cohesion’ and the opportunity to express different roles. She also discusses the ease with which dramatherapy sessions can move to psychodrama and vice versa. Adolescents may prefer to begin working, within dramatherapy, on a hypothetical abuse situation and move to a specific situation, from their own lives, in psychodrama.