Research-educational Association of Art Therapy آموزشی هنر درمانی-انجمن پژوهشی
Students’ Scientific Research Center
Tehran University of Medical Sciences
www.persianarttherapy.org All rights reserved and belong to Tehran University of Medical Sciences, research-educational association of art therapy.
October 2011- September 2012 English
0930 شهریور ماه-0931 مهر ماه فارسی
Research-educational Association of Art Therapy آموزشی هنر درمانی-انجمن پژوهشی
Art Therapy: Our Need Dawood Safari (Student of Medicine; Fouder & Director of Research-educational Association of Art Therapy; Tehran University of Medical Sciences)
In today society, involved in many hardships and calamities, besieged by indigence and asperity, far from laughing and selfreliance, depression and anxiety its souvenir, happiness retained only by drugs; art therapy is the most assured way to improve human health, aiming at sublimating and purging of destructive energies and provocations human mind and psyche. Art dates back to far ancient times; frescos in caves, ritual dances, fecund sculptures, painted masks of tribes, musical instruments, legends, all denote human awareness of art impact during history. With respect of studying on pre-historic art, the most important 20,000 troglodyte relics have in common with a relationship, the relationship between art, magic and religion. Indeed there were endeavors to satisfy or subjugate creatures and natural forces. Pictures of Altamira cave in Spain, Lascaux in France or Timareh painted stones environs Khomein are of that ilk. The fundaments of large non-scientific part of life are discovered by numerous methods. Probably before late 19 century and in the beginning of 20 century, s studying on unconscious, approaching about psychoanalysis, we can discover many aspects of art and its using as device for therapy. These studies try to decipher pictures, dreams and fancies. So, dating back to far ancient times, art therapy is a new study-field. Studying of art impact in the passage of history with psychoanalytic approach, not only divulge the truth about creatures, but in general about human, because art is a part of human nature. Thus, studying of art is a device to know humans and their needs, guiding the therapist. For many reasons art substantially leads to improve health, such as releasing tensions, stress, feeling a systematic releasing of feel, facilitating what its statement is difficult, showing individual feelings and unconscious. For the suffering from psychos, social and physical problems, creating an artwork wonderfully leads to promote their life quality. Art can make possible what is not possible. This denotes art as a medium in psychiatry. Art therapy is a therapeutically device, because of using it in numerous theories, a device to improve health. 2
Research-educational Association of Art Therapy آموزشی هنر درمانی-انجمن پژوهشی
About Association Established in Mehr 1390(October 2011), the goal of association is making academic step for teaching and researching in fields of art therapy. The elements of art therapy are composed of two sciences: first: art, with using different materials and media, second: therapy, meaning psychotherapy. Psychotherapy is kind of non-drug therapy, insisting on verbal, non-verbal and symbolic methods. Psychotherapy is a systematic method that compiled on the grounds of personal theories. Its purpose is changing of thinking, behavior and excitement. Psychotherapy has very different subdivisions falling into behavior therapy and psychoanalysis. Thinkers of different fields divid psychotherapy with respect to its therapy purposes into three major divisions: re-learning, re-developing and supporting. Art therapy is a kind of supporting therapy. At first, art therapy was done in the west by psychoanalysists and psychotherapists; but now, by sophisticated art –therapists. A sick person can directly consult an art therapist or consulted by other doctors and therapists. The educational approach, authorized for teaching art therapy, has three parts: Art, psychotherapy and research. Active teaching centers such as universities and associations focus on one model or multi- model approaches. Research and educational activities of the association are based on multi-model approaches, under the name of art therapy. Activities of the association are based on a rule, the rule that art therapy is an interfiled science. This is based on art and psychology. The founders and researchers of this field, well-versed in forecited fields, glean diagnostic, therapeutic and preventive methods. Activities are on the grounds of advices of professors of these two fields, with well- informed persons, to transfer art therapy and continuing researches. 3
Research-educational Association of Art Therapy آموزشی هنر درمانی-انجمن پژوهشی
With knowing that art therapy is an inter-field science, there are no limitations for interested persons. Our friends of every study- fields such as art, medicine and related fields can participate, with each other and under observation of professors. Subdivisions of the Association: 1. 2. 3. 4. 5. 6.
Music therapy Drama therapy Painting therapy Story and Poem therapy Photos and Movies therapy Dance and Movement therapy Association director: Dawood Safari Teaching director: Hanie Fatahi Research director: Saeed Soleiman Jahi
Contact with us Address: Iran-Tehran-Enghelab Ave-Quds Ave-Pour sina Ave-Faculty of Medical Sciences- 3th floor P.O Box: 14155-6537 Tel: +989126213144 Official E.mail:info@persianarttherapy.org D.Safari Email: scarcebeamea@yahoo.es
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Research-educational Association of Art Therapy آموزشی هنر درمانی-انجمن پژوهشی
Association News Valley of Rose, Brave-heart Princes play Valley of Rose, Brave-heart Princes performing on Ordeebehesht 9th (April 30th and 31st) by suffering Down,s syndrome at Tehran University of Medical Sciences.The goal of introducing of Psychodrama impact is improving life quality of suffering Down,s syndrome. For the first time in the world, the play was performed by Tavanyaban group in the street (as street play).
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Research-educational Association of Art Therapy آموزشی هنر درمانی-انجمن پژوهشی
The people suffering from Down syndrome should be treated as a human first and a person with Down syndrome next. They should enjoy benefits of a normal citizen. This mentality preserves their personality in real sense. If social rights and benefits of the people suffering from Down syndrome is amended and they are treated according to dignity of a human, they can provide the society with their valuable human effects. Unfortunately, the way such people are treated in the society is not good. Some of them are frightened as others ridicule them or feel pity for them. Even some of physicians refuse to examine and treat them.
Cyrus Cylinder, the world's first charter of human rights, About 539-530 BC, Achaemenid Empire, Anciet Iran
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Research-educational Association of Art Therapy آموزشی هنر درمانی-انجمن پژوهشی
AM2012 India After all the problems happened to the IFMSA-IRAN delegates at AM2012, this is a good time to say congratulation to IRAN SCORPians. By the way this is not the first time our SCORP friends are presenting a project at GA but this is our first time having a chance to appreciate their great job.
Here is the abstract of IRAN SCORP project which was presented at AM2012 project fair.
Psychodrama for Those Suffering from Down Syndrome and Performing Street Play by them Dawood Safari, Rasoul Haghshenas, Hanieh Fattahi, Somayyeh Kiadarbandsari
Psychodrama is the combination of psychology and theater in order to attain and enhance the inner world and refine the soul. Though dating back to 1927, Psychodrama has a short lifetime in our country. The Psychodrama which is being practiced in our country is a purposeless imitation from its European-American model, without paying attention to the mental culture governing Iran. That is why it has not yet attained its real position. In our Psychodrama classes, in addition to foreign exercises introduced, some exercises were designed for the first time in Iran. In this connection we innovated about 52 creative exercises in addition to 1011 foreign exercises introduced. 7
Research-educational Association of Art Therapy آموزشی هنر درمانی-انجمن پژوهشی
The Play "Rose Valley and Lion Hearted Princes" In line with activities pursued by the Association, 13 persons suffering from Down syndrome underwent theater therapy for a period of 8 months, eight 2-hour sessions each month, until this play reached the step of performance. The play was performed on 28-29 April 2012 at Tehran University of Medical Sciences, with students and professors of the university being the audience. This play was performed in street form at the university with the aim of showing the effects of theater therapy in those suffering from some kind of mental-physical disorder, showing their capabilities and enhancing their self-reliance. * Story of the Play: a rose lives in a meadow when evils suddenly steal its petals. Having faded, the rose decides to ask the two champion princes to find its petals. In doing so, the princes decides to get assistance from angels. Princes release the angels and give the rose its petals, all singing the song of freedom. * Treatment methods used: constituent elements of this play are: expression, body language, imagination, rhythm, mise-en-scene, dialogue, monologue, puppet show, music and song; each scientifically relating to treatment. In order to enhance expression in actors, a song at the end of play as well as rhythmic dialogues was used. Mise-en-scene was used for concentration and development of mental relation line in the mind of patient during the course of play. Puppet show was used to enhance control of both hands at the same time. Face mask was used in order to enhance visual skill and mental control when confronting the surrounding environment. Several different characters were used in order to create different plots and dynamic story line to enhance memory. In this play, Brecht spacing and narration method was used to create a short pause in concentration of actor so that he/she can concentrate on the continuation of story and avoid losing the story line. Also, dialogue passing method has been used in order to develop a continuous mental line for replying to the dialogue of other actors. This play was performed in street form in order that actors learn not to lose their concentration in confronting external environment. In addition, street play results in communication between actors and the audience. In general, the street play “Rose Vally and Lion-Hearted Princes” results in enhancement of the actors’ self-reliance when facing environments outside of house, clinic and school. * Results: Enhancement of expression,Promotion of concentration level,Enhancement of the power to control body organs simultaneously, Enhancement of singing larynx, Enhancement of selfreliance,Improvement of communication between such patients and the society, Reliance of the families of these patients on their children
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Research-educational Association of Art Therapy آموزشی هنر درمانی-انجمن پژوهشی
The First Setting up of Teaching Psychodrama in Iran: Principles and Techniques Workshops The association set up four workshops about teaching Psychodrama, principles and techniques in January and February 2011 at center of Developing Talented Students . These workshops was organized with the teaching of Dr.Hagh Shenas, Dr.Chista Iasrebi & Mr.Majid Amrae with the goal of introducing universal techniques with their self-made techniques. In every workshop were shown educational films and photos, with transferring his experiments and techniques. Pamphlets of the association were compiled and you can get them. Conference with Prof. Hassan Ashayeri (Neuropsychatrist) This conference was organized by Mr.Safari (association director).the purpose of conference with erudite Dr. Ashayeri was analysis of useful techniques on better introducing and teaching of Psychodrama, organized on Bahman 5 th1390 (Jan 25th 2011). Welcoming, Prof. Ashayeri estimated that the educational program was useful and hoping to start a way with accompany of other professors and the interested. His insisting was on scientific view about art therapy and research, either in the frame of dissertations or free researches. He is one of the most prominent researchers on neuropsychology and member of faculty in Tehran University of Medical Sciences. There is call for the interested in research on neuropsychology and art therapy. 9
Research-educational Association of Art Therapy آموزشی هنر درمانی-انجمن پژوهشی
Cooperation with Ameneh Nursery With the aim of helping Ameneh nursery, the association proposed organizing art therapy sessions. Applying herself assiduously, Mrs.Fatahi organized a session on 28 Day 1390 (28 Dec 2011). The association organizers, accompanied by nursery psychologist visited nursery saloons and surveying facilities for art therapy activities. After signing an agreement, charities activities began. The art therapy sessions with accompany of art therapy professors, psychologists and psychotherapists is about to organize.
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Research-educational Association of Art Therapy آموزشی هنر درمانی-انجمن پژوهشی
Shahla Nakhost: Art therapy Association Guest On 16 Azar, 1390 ( 7 Dec 2011) a conference was organized with Dawood Safari and Shahla Nakhost Esfahani at center of Developing Talented Students. The purpose of session was introducing of art therapy, analysis of useful ways for teaching and academic research in Iran. Pointing at the position of art therapy in England and other countries in the world, Mrs.Nakhost, Iranian art therapist residing in England and member of (BAAT), regarded art therapy as a special study-field and as a known profession for many years. Mrs.Nakhost, graduated from Hertforshire with a degree in art therapy, works as researcher and therapist. She has written a sophisticated article with the title of Refugee Woman –Survivor of War Art Therapy with a Young.
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Research-educational Association of Art Therapy آموزشی هنر درمانی-انجمن پژوهشی
Art therapy in the Annual Research Conference Centre 18th annual scientific students researcher conference of Tehran University Medical Sciences was held on Aban 29, 1390 (29 Nov 2011) .in the exhibition section, the association presented its goal, introducing of art therapy, programs and giving membership. For this reason Mr. Safari (association director) and active members answered some of visitors, questions, and the interested persons was given membership. Later the honorable university director Prof.Larijani paid visit to art therapy section. Introducing association, he regarded the activities art therapy and researches impact. At the end, with introducing art therapy, a pantomime was held by Nasir-al-din Khatami.
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Research-educational Association of Art Therapy آموزشی هنر درمانی-انجمن پژوهشی
Painting Therapy Workshop With the aim of educational approach, a painting therapy workshop was held by art therapy association on Azar 3, 1390 (24 Nov 2011) at the center of Developing Talented Students. Thirty six persons participated in this workshop, during four hours. More than half of participants were medical students and the rest nursery, ergo therapy, operation room, health teaching, theatre, painting, and social sciences students. Aiming at using art in health, workshop teacher presented their experiments in two theoretical and pragmatically sections. The major purpose in theoretical section is art impact on therapy and what art is. In the pragmatically section was held a painting session, accompanied by participants individually or in groups. Aiming at the academic teaching of art therapy, painting workshop was the beginning of painting therapy and became special workshop. he participants, using painting means, in practice and targeted involved in painting. Materials introducing was the purpose and their specifications, the way of using them and being in the sick person position.
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Research-educational Association of Art Therapy آموزشی هنر درمانی-انجمن پژوهشی
Notes Dancing and Ritual Behaviours in Iranian Culture Recollection by Dagger or Recollection of God
By Nassir-al-din Khatami All nations around the world have language, culture and rituals taking root in their ancestors, environments, life conditions, belief and weltanschauung .every custom has a reason and history of its own, demonstrating way of life, weltanschauung of that community in the past periods. For this reason one of the research and archeology methods is surveying of habits, customs and folklore, when there is no collected and written history. What always renders difficult for Torkman- Sahra habitants is non-collected history of this oppressed people, leading to arising ambiguity about their life conditions, culture and reasons of molding them. It is much to be regretted that there is no access to resources and a little (!) translations of little indefatigable orientalists, researches and European researchers. So , by retrospective search of this people, it should be pointed at citations and tales that certainly of course subjected to change and can not divulge the realities of that periods. Recollection by Dagger or Dagger Dancing( Raghs-e-Khanjar) is one of the traditional plays of Torkman people, taking root in far more pasts, as wide as the amplitude of Torkman-Sahra and profound as centuries. This kind of art is found on Torkman people belief. The root of this dancing is in far more pasts, pre-Islamic periods and at the time of Shamans. At that time this dancing was performed in special ceremonies and days, accompanied by the people, with putting on special clothing before gods, regarded as one of the ritual ceremonies. Another reason of performing Dagger Dancing was breaking out of war, approaching of enemies and preparing for war. Researchers are of the same opinion on performing the dance before wars, believing that the Torkman people in the beginning of wars per formed this dance before people and in battle-fields to prepare and encourage people. Another believe that this dance was held in a multitude; warriors make sound, pertaining to the dance, with accompanying and 14
Research-educational Association of Art Therapy آموزشی هنر درمانی-انجمن پژوهشی
encouraging people. They themselves were also subjected to war excitement to frighten enemies. Thus, in this way taking the lead, Agh Sagh Ghal or the elder (Rish Sephid) called young people to the battle-field, as soon as they themselves informed of approaching war time. After assembling, with all war paraphernalia, and fastening dagger and sword to their waists, some of warriors performed Dagger Dancing in the circle of others. Epic and exciting poems read by singers or lyrists and leaders, with echoing, audible, effecting tone, clamor of warriors, virile and prideful behaviors, harmonious and unanimous obedience to leaders, all pulled together to stir young people and men being in the cavalcade with each other. Then, they prepared for facing probable difficulty and even being put to death. So, performing a dancing-like play played a major role in preparing and exciting the people for defence against plunderers and transgressors. Prevailing over aggressors at the end of war, as a sign of gratitude for coming over enemies because of union, unanimity and courageous war, they performed once again Dagger Dancing at the highest peak of battle-field over the routed enemies, dead bodies. these ceremonies were regarded as the end of war and definite victory of Torkman people. Some of researchers believe that the origin of this dancing is invocation of demons (Pari Khani or Par Khan). Exorcists or Pari Khans were conjurers or magicians at pre- Islamic times, treated highly with respect, among Torkman people. Furthermore, they were more or less aware of medicine, using primitive medicine and incantations, embarking on curing sick persons particularly psychotics. in this manner a sick person was sit in a special place; exorcist and his fellows , turning around him or her, read some incantations and poems, made some strange sounds. For better physical impact, exorcists used music. This music was played by Do Tar (the typical Persian instrument of music, resembling more or less guitar and having two strings, played by a plectrum.) exorcists did their best to exorcize. Because they believed that the soul of sick person was under influence of this demons and fairies (Pari). This demons and fairies made persons out of balance. The advent and developing of the Islam made change in many social aspects under Islamic influence regions, accepting Islam without any quarrel or war, rejecting some of the past believes. 15
Research-educational Association of Art Therapy آموزشی هنر درمانی-انجمن پژوهشی
One of the ceremonies, subjected to this change, was Dagger Dancing. Preserving its position, this dance subjected to fundamental change specially its poems. Because of repeating the heliolatrous poems in Dagger Dancing were incompatible with Islamic creed, then that poems superseded by such mystical and religious poems, lauding and panegyrizing the Unique, versified by Muslim mystics and poets, such as Sufi Allah Yari, Mashrab and Navaie. From that time on those ceremonies were named Recollection by Dagger or Recollection of God. Aiming at lauding the Beneficent, Azar Mohammad Rasuli in his book Tokestan in the Passage of History writes: there is a kind of dancing in Torkestan , resembling the practice of Sufism. It is inferred from Vambrey that it is unlikely that the spiritual leaders of Naghbandieh do such doings; because such doings are done twice a week and during it Sufis of the mystical path, the relation and request for intercession are commemorated. The ceremony, held nowadays, has built upon this reason. The most conspicuous characteristic of the ceremony is harmony, relationship and obedience to the leader. To researchers mind, this is one of the causes of holding the ceremony in the past and in the battle- field. They regard the fastening and brandishing of dagger during the ceremony as symbol of that war times. At the other hand some believe that the closing doings are the symbol of victory against covetous, animal and internal desires. Undoubtedly every doing has a special meaning, relating an event in the ancient times.
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Research-educational Association of Art Therapy آموزشی هنر درمانی-انجمن پژوهشی
Photo Therapy: A Sense Review By Mohsen Khosravi Photos are our thoughts, vestiges, our hearts, reflections and the incarnated, inanimate and silent memories; we can keep them for ourselves. Above it, there is a constant challenge: are photos or photographers regarded as an art or a document? Photos as the medium of art can be device for transferring of thoughts, senses and feelings between people. Photo Therapy is a kind of interrelated system, using private photos, family album for accessing to feelings and memories. These feelings and memories may not be accessible in guided approaches such as phototherapy or consultation. The therapeutic supposition of phototherapy is every photo relates stories between individuals. The subject of photo is always more important emotionally or therapeutically than photos. Private photos, as a mirror of memories, relate the origins and destinations of sick person and photos, as theatrical things, indicate personal symbol or metaphorical structures. By photos is shown one kind of a more deep perceptibility, penetrating into unconscious, emotional life of sick person, because words cannot perfectly reflect them. Feelings and emotions, hid in private photos, are like bridges for accessing to them, unveiling relations between feelings and memories such as unconscious and memories. Sick person, interrelating with psych therapist, explains his/her meanings of private photos. Every associated thought appear automatically, paving the way for conscious and knowable revealing. Photos have a meaning of their own. The meanings, photos, relating stories, pertaining to photographers, viewer, putting on airs, are completely different. Five Photo Therapy Techniques: Family albums, Photo projective, Self portrait, Photo by person, Photo by others
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Research-educational Association of Art Therapy آموزشی هنر درمانی-انجمن پژوهشی
Psychodrama: definitions, fundamentals By Rasul Hagh Shenas Psychodrama or psycho drama therapy is a hybrid between psychology art for accessing to inner world, buttressing and refining. Beginning in 1927, had a short date in Iran. Psychodrama, handling in Iran, is an aimless imitation of EuropeanAmerican pattern, out of consideration for ruling psychological culture or zeitgeist. for this reason it loses its position, but this is good! What is the worst and happening is the perfunctory use of Psychodrama in some handicapped centers; out of consideration for psychology and analysis of scope for therapy, the handicapped and sick person. There is a difference between the definition of the handicapped theatre and handicapped Psychodrama. The first there is no theatre therapist, but director, not normal actors, but the handicapped. In other words the first priority is given to theatrical aspects even there is no therapeutically purpose. Thus, the handicapped is given word by word, trained, in the end theatre is played and that is all. There are other alternatives: director is a psychotherapist who should have more conspicuous present, exercises than text and play. So psychotherapist must be aware of psychology, paying attention to ergo therapy, behaviorism. He/she should be a well-versed in consultation, using Psychodrama in line with therapy. In the latter, the aim is the improving of human fundamentals. The most important point, that should be appointed, is Psychodrama can be performed in all social stratums. The handicapped such as mental or physical, normal persons, even persons having problems in behavior, suffering from depression or obsessive persons. In another word if we speak about the handicapped, it is because of predominance of Psychodrama over these patients, not because of allocating this therapy to them. It is necessary to find our position in Psychodrama; it is a golden triangle consisting of therapist, sick person and 18
Research-educational Association of Art Therapy آموزشی هنر درمانی-انجمن پژوهشی
his/her family. Being aware of Psychodrama is one of conditions of handling in Psychodrama. It is a hybrid between psychology and art. For this reason there is difference between Psychodrama and the handicapped theatre. There is another condition: being thoroughly acquainted with the kinds of theatre, not thoroughly, but to some extent so that we can exploit a means, the means meaning theatre such as child theatre, puppet theatre, designing, writing and acting; all are the fundamental materials. A therapist without any originality must imitate European-American pattern, thus there is no success. On the other hand there is priority of needs. The means should be handled in the therapy process by using golden triangle, consisting of mentors (educators), authorities and families. Perhaps in the west they believe in taxonomy, but these needs take priority over written therapeutically taxonomy. My new Psychodrama way is, before prescribing, attention to sick person. That is to say, first what limitation is brought about by problem? What does therapy need? Second what expectations have sick persons and their families? What solutions should be used? Third what are necessary norms and subversive ones? How should they be corrected or buttressed? Another necessary condition of psycho drama therapy is, there are no surgeons or amendments, but what is important is the aim accessible. My way is human wonder on stage. It should be mentioned that no one has competence of doing Psychodrama, because an inappropriate word, movement, exercise may be lead to confusion. Confusion arises from not being aware of Psychodrama. Psychodrama is not an evanescent test but impressive and perpetual.
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Research-educational Association of Art Therapy انجمن پژوهشی -آموزشی هنر درمانی
اًجوي پصٍّؽي -آهَزؼي ٌّر درهبًي (ظبل آهَزؼي )1910 – 11
داًؽگبُ ػلَم پسؼكي تْراى هرکس رؼذ اظتؼذادّبي درخؽبى
www.ssrrc.tums.ac.ir o
هرکس رؼذ اظتؼذادّبي درخؽبى
هرکس پصٍّؽْبي ػلوي داًؽجَيبى
ٌّ www.persianarttherapy.orgردرهبًي پبرظیبى
بِ ٌّر درهبًي ًیبزهٌذين .......................................................................................................................................................................................
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ًگبّي بر اًجوي پصٍّؽي -آهَزؼي ٌّر درهبًي .......................................................................................................................................................................................
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فؼبلیتْبي اًجوي پصٍّؽي -آهَزؼي ٌّردرهبًي در ظبل ًخعت آهَزؼي : 1910 -11 .......................................................................................................................................................................................
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دٍرُ ّبي آهَزغ آکبدهیك ٌّر درهبًي .......................................................................................................................................................................................
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کبرگبّْبي آهَزغ ٌّر درهبًي .......................................................................................................................................................................................
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گرٍّْبي هطبلؼبتي .......................................................................................................................................................................................
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پرٍشُ برگساري کبرگبّْبي آؼٌبيي هراکس داًؽگبّي کؽَر بب ٌّر درهبًي .......................................................................................................................................................................................
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ٍة ظبيت ٌّردرهبًي پبرظیبى .......................................................................................................................................................................................
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هبٌّبهِ ٌّر ٍ ظالهت .......................................................................................................................................................................................
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اجراي ًوبيػ خیبببًي "درُ گل ظرخ ٍ ؼبّسدُ ّبي ؼیردل" بب ببزي هبتاليبى بِ ظٌذرٍم داٍى در هحَطِ داًؽگبُ تْراى .......................................................................................................................................................................................
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پرٍشُ ًوبيػ درهبًي هبتاليبى بِ ظٌذرٍم داٍى در فذراظیَى بیي الوللي داًؽجَيبى پسؼكي ( ٍ ) IFMSAهعببقبت RCA .......................................................................................................................................................................................
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هعئَلیي ٍ ّوكبراى ظبل اًجوي ٍ اطالػبت توبض
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Research-educational Association of Art Therapy انجمن پژوهشی -آموزشی هنر درمانی
بِ ٌّر درهبًي ًیبزهٌذين زض جبهؼِ ی اهطٍظ وِ ههبیت ٍ هكىالت هتؼسزی گطیجبًگیط اًؿبى اؾت ،زض جْبًی وِ هحهَض زض فمط ٍ ذكًَت قسُ ،لجرٌس ٍ اػتوبز ثِ ًفؽ ضا اظ اًؿبى زٍض وطزُ ٍ اضغطاة ٍ افؿطزگی ضا ثِ اضهغبى آٍضزُ ٍ ذَقی ٍ قبزی تٌْب ثب اؾتفبزُ اظ زاضٍّبی تغییط زٌّسُ ی ذلك ثِ زؾت هی آیٌس؛ اؾتفبزُ اظ ٌّط ضٍقی هغوئي ثطای ٍاالیف اًگیعقْب ٍ اًطغیْبی هرطة ضٍح ٍ شّي آزهی هیجبقسٌّ.ط زضهبًی یؼٌی اؾتفبزُ اظ ٌّط ثِ ػٌَاى ٍؾیلِ ای ثطای ثْجَزی ؾالهتی اًؿبى. اؾتفبزُ اظ ٌّط ثِ ایي هٌظَض ثِ گصقتِ ّبی ثؿیبض زٍض ثبظ هیگطزز. ًمبقی ضٍی زیَاض غبضّب ،ضلهْبی آییٌی ،پیىطُ ّبی ثبضٍضی ،هبؾىْبی هٌمَـ لجبیل ،ؾبظّب ،افؿبًِ ّب؛ توبهی ًكبًسٌّسُ ی آگبّی اًؿبى زض عَل تبضید ثِ تبثیط ٌّط زاضز .ثب تَجِ ثِ هغبلؼبت پیطاهَى ٌّط پیف اظ ًَقتبضٍ ،جِ اقتطان هْن آثبض ٌّطی ثیؿت ّعاض ؾبل فطٌّگ غبض ًكیٌی ،اضتجبط زازى ٌّط ثب ًیطٍّبی جبزٍیی ٍ یب هصّجی ثَزُ؛ زض ٍالغ تالقی ثطای هْبض یب ذكٌَز وطزى ًیطٍّب یب هَجَزات عجیؼت ثَزُ اؾت .تهبٍیط هٌمَـ ثط زیَاض غبضّبیی چَى آلتبهیط زض اؾپبًیب ،الؾىَ زض فطاًؿِ ،یب تهبٍیط هٌمَـ قسُ ثط ؾٌگْبی تیوطُ زض حَالی قْط ذویي ًوًَِ ّبیی اظ ایي زؾت هی ثبقٌس. اًؿبى ػهط هسضى ثِ هسز ضٍقْبی گًَبگَى ضٍاًكٌبؾی ،قبلَزُ ی غیط ػمالًی ثرف ٍؾیؼی اظ ظًسگی ذَز ضا وكف وطز .احتوبال لجل اظ اٍاذط لطى ًَظزُ ٍ اٍایل لطى ثیؿت وِ هغبلؼبت هرتلفی ثط ضٍی هجحث ًبذَزآگبُ ثب ًگطـ ضٍاًىبٍی نَضت گطفت ،هب لبزض ًجَزین ثؿیبضی اظ جٌجِ ّبی ٌّط ٍ هَاضز اؾتفبزُ ی آًطا ثِ ػٌَاى اثعاضی ثطای زضهبى وكف وٌین .ایي هغبلؼبت ؾؼی ثط آى زاقتٌس تب ثتَاًٌس تهبٍیط ،ضٍیبّب ٍ ذیبالت ضا ضهعگكبیی ًوبیٌس. پؽ ٌّط زضهبًی زض ػیي ایٌىِ تبضیرچِ اـ ثِ ظهبًْبی ثؿیبض زٍض ثبظ هیگطزز اهب یه ضقتِ ی تبظُ ٍ جسیس اؾت .ثطضؾی تبثیط ٌّط زض گؿتطُ ی تبضید ثب ًگبّی ضٍاًىبٍاًِ ،هغبلجی ضا ًِ فمظ زض هَضز آفطیٌٌسگبى وِ زض هَضز اًؿبى ثِ عَض ػبم آقىبض هیؿبظز؛ چطاوِ ٌّط ثركی اظ شات ٍ عجیؼت اًؿبى اؾت .ثٌبثطایي ثطضؾی تبثیط ٌّط ثطای قٌبذت ثیكتط اًؿبى ٍ ًیبظّبیف ضاُ گكبی زضهبًگطاى زض ضقتِ ّبی گًَبگَى اؾت. ٌّط زضهبًی اظ تطویت زٍ زاًف تكىیل قسُ اؾتٌّ :ط وِ هتطیبلْب ٍ هسیَهْبی هرتلف هَضز اؾتفبزُ زض ٌّط زضهبًی هی ثبقس ٍ زضهبى وِ هٌظَض ضٍاًسضهبًی حوبیتی اؾت .ضٍاًسضهبًی ًَػی زضهبى غیط زاضٍییؿت وِ ثط ضٍقْبی والهی ،غیط والهی ٍ ًوبزیي تبویس زاضز .ضٍاًسضهبًی ضٍـ ًظبم هٌسی اؾت وِ ثط اؾبؼ تئَضیْبی قرهیت تسٍیي قسُ ٍ ّسف آى تغییط زض تفىط ،ضفتبض ٍ ّیجبى فطز اؾت .ظیط هجوَػِ ّبی ضٍاًسضهبًی ثؿیبض فطاٍاى اؾت وِ ضٍاًىبٍی ٍ ضفتبض زضهبًی اظ آى جولِ هی ثبقس. اًسیكوٌساى ضقتِ ّبی هرتلف آًطا ثِ اػتجبض اّساف زضهبًیكبى زض غبلت ؾِ هجوَػِ ی انلی لطاض زازًس :ثبظ آهَظی ،ثبظپطٍضی ٍ حوبیتی .وِ ٌّط زضهبًی زض ظهطُ ی ضٍاًسضهبًیْبی حوبیتی لطاض هی گیطز. زض اثتسا ٌّط زضهبًی تَؾظ ضٍاًىبٍاى ٍ ضٍاًسضهبًگطاى زض غطة اًجبم هیكسُ اهب زض حبل حبضط تَؾظ ٌّط زضهبًگطاى هتجحط ٍ ثب تجطثِ .زضهبًجَیبى یب هؿتمیوب ثِ ٌّطزضهبًگط هطاجؼِ هی وٌٌس یب اظ ؾَی ؾبیط پعقىبى ٍ زضهبًگطاى ثِ ایكبى ضجَع زازُ هی قَز. اًجبم وبضّبی ٌّطی ،شاتب ثِ زالیل هتؼسزی هٌجط ثْجَز ؾالهت اًؿبى هیگطزز .اظ آى جولِ هیتَاى ثِ هَاضز شیل اقبضُ ًوَز: یه /فكبض ٍ تٌكي ضٍحی ضا ترلیِ هیىٌس زٍ /هٌجط ثِ تجطثِ ی یه احؿبؼ ضّبیی ؾبظهبى یبفتِ هیكَز ؾِ /آًچِ وِ ثیبًف اظ عطیك والم زقَاض اؾت ضا آؾبى هیىٌس چْبضً /بزیسًیْب ضا زیسًی هیىٌس ،یؼٌی هٌجط ثِ ًوبیف افىبض ًبذَزآگبُ ٍ احؿبؾبت فطزی هیكَز ثطای افطاز آؾیت زیسُ اظ هكىالت ضٍاًی ،اجتوبػی ٍ جؿوبًی ذلك اثط ٌّطی هیتَاًس ثِ عَض قگفت آٍضی هٌجط ثِ افعایف ویفیت ظًسگیكبى قَزٌّ .ط هیتَاًس هَضَػبتی ضا وِ ثیبى واله یكبى غیطهوىي اؾت ضا اهىبى پصیط ؾبظز .ایي اهط ًكبًگط ایي هَضَع اؾت وِ چطا ٌّط هیتَاًس ثِ ػٌَاى یه ٍؾیلِ زض هساذالت ضٍاًپعقىی هَضز اؾتفبزُ لطاض ثگیطزٌّ .ط زضهبًی ٍؾیلِ ای اؾت ثطای زضهبىٍ ،ؾیلِ ای اؾت ظیطا آًطا هیتَاى زض اجطای ًظطیِ ّبی گًَبگَى ثِ وبض ثطزٌّ .ط زضهبًی یؼٌی اؾتفبزُ اظ ٌّط ثؼٌَاى ٍؾیلِ ای ثطای ثْجَزی ؾالهتی اًؿبى. زاٍز نفطی هَؾؽ ٍ هؿئَل اًجوي پػٍّكی -آهَظقی ٌّط زضهبًی زاًكگبُ ػلَم پعقىی ٍ ذسهبت ثْساقتی زضهبًی تْطاى
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Research-educational Association of Art Therapy انجمن پژوهشی -آموزشی هنر درمانی
ًگبّي بر اًجوي پصٍّؽي -آهَزؼي ٌّر درهبًي اًجوي پػٍّكی -آهَظقی ٌّط زضهبًی ٍاثؿتِ ثِ زاًكگبُ ػلَم پعقىی تْطاى اظ هْط هابُ ؾابل 1390 تبؾیؽ قسّ .سف اظ تبؾیؽ ایي اًجوي ایجبز هَلؼیتی آوبزهیه ثطای آهَظـ ٍ پػٍّف زض ضقتِ ّبی ٌّط زضهبًی هی ثبقس. ضٍیىطز آهَظقی تبییس قسُ زض زاًكگبّْب ٍ هطاوع هؼتجط ػلوی جْبى ثطای آهاَظـ ٌّطزضهابًی اظ ؾاِ انل تكىیل قسُ اؾتٌّ :ط ،ضٍاًسضهبًی (انَل ضٍاًكٌبؾی) ٍ پػٍّف. هطاوع آهَظقی فؼبل زض جْبى یب ثط یه هَزالیتِ توطوع وطزًس یب چٌس هَزالیتاِ .ضٍیىاطز تاه هَزالیتاِ هثل: & Art Therapy(Painting Therapy). Poetry Therapy. Photo Therapy. Dance )Movement Therapy. Music Therapy. Drama Therapy (Psychodrama
ضٍیىطز چٌس هَزالیتِ اظ تطویت زٍ یب ثیكتط هَزالیتِ ّب تكىیل قسُ ٍ ثب ػٌبٍیٌی چَى: مسئُل اوجمه در حبل گفىگُ بب دكتر الريجبوي ،رئيس داوشگبي علُم پزشكي تٍران َ دكترپرَيه پبسبالر ،رئيس مركز پژٌَشٍبي علمي داوشجُيبن پيرامُن اٌداف َ فعبليتٍبي اوجمه ٌىر درمبوي (وشست سبالوً مركز پژٌَشٍبي علمي داوشجُيبن )1390
Expressive Therapy. Creative Therapy. Arts Therapies. Art Therapyهغطح هی قًَس .فؼبلیتْبی آهَظقی پػٍّكی اًجوي ثط اؾبؼ ضٍیىاطز چٌاس هَزالیتاِ ٍ تحات ػٌاَاى ولای ٌّطزضهبًی هی ثبقس. انلی وِ زض زًیبی ٌّط زضهبًی ضػبیت هیكَز ٍ هغبثك ثب آى فؼبلیتْبی اًجوي آغبظ قس ،ایي اؾات واِ ٌّطزضهبًی ضقتِ ای هبثیي ضقتِ ّبؾت یب زاًكای ثایي ضقاتِ ای اؾات .ایاي زاًاف اظ ٌّاط ٍ اناَل ضٍاًكٌبؾی ثَجَز آهسُ .پبیِ گصاضاى ٍ پػٍّكگطاى ایي ضقتِ ثب تؿلظ ثط ّط زٍ زاًف هصوَض ضٍقْبی تكریم ،زضهبى ٍ پیكگیطی ضا تسٍیي ًوَزُ اًس. فؼبلیت اًجوي ثب اؾتفبزُ اظ ضاٌّوبیی اؾبتیس زٍ حَظُ ضٍاى ٍ ٌّط ٍ ّوطاّی اقربنی وِ ؾبلْب زض ایي ظهیٌِ هغبلؼِ وطزُ ٍ آگبٌّس زض جْت اًتمبل زاًف ٌّطزضهبًی اظ ایكبى ثِ ػاللِ هٌساى ٍ زض ازاهِ ی آى پػٍّف اؾت .هحسٍزیت حضَض ثطای ػاللِ هٌساى ثاب تَجِ ثِ ایٌىِ هیساًین ٌّطزضهبًی زاًكی ثیي ضقتِ ّبؾت ٍجَز ًساضز ٍ زٍؾتبى ٌّط ٍ پعقىی ٍ ضقتِ ّبی ٍاثؿاتِ های تَاًٌاس زض فؼبلیتْبی آهَظقی ٍ پػٍّكی اًجوي ،زض وٌبض ّن ،ظیاط ًظاط اؾبتیس هكبضوت ًوبیٌس. ظیط قبذِ ّبی اًجوي هكتول ثط :هَؾیمی زضهابًیً ،وابیف زضهبًیً ،مبقی زضهبًی ،لهِ ٍ قؼط زضهابًی ،فایلن ٍ ػىاؽ زضهبًی ٍ حطوبت ضیتویه زضهبًی هی ثبقس.
اضم اًجوي تَؾظ اؾتبز فطقیس لغفیً ،مبـ ٍ هجؿوِ ؾبظ ،عطاحی قس .هطثغ ًوبز گطٍُ ٍ اًجوي ،هبض ًوبز ؾالهت ٍ ولوِ ٌّط زض هیبى آضم هجوَػب ثیبًگط هفَْم وبض گطٍّی زض ظهیٌِ ٌّطزضهبًی هی ثبقٌسً .وبز زض ًوبی ولی گَیی قرم ًكؿتِ ای اؾت وِ زض حبل ثلٌس قسى هی ثبقس .آضم اًجوي پػٍّكی -آهَظقی ٌّطزضهبًی ثیبًگط ضٍیىطز انلی اًجوي زض جْت پبیِ گصاضی آهَظـ اوبزهیه ٌّطزضهبًی زض ایطاى هی ثبقس. 22
Research-educational Association of Art Therapy انجمن پژوهشی -آموزشی هنر درمانی
اػضبي اًجوي پصٍّؽي -آهَزؼي ٌّردرهبًي
ػضَیت زض اًجوي ثطای توبم ػاللِ هٌساى اهىبى پصیط اؾت .اػضب زض غبلت فؼبلیتْبی اًجوي هی تَاًٌس ثِ قٌبذتی ػلوی اظ ٌّطزضهبًی زؾت پیسا ًوبیٌس ٍ ثب اػضبی اًجوي زض ضقتِ ّبی هرتلف اضتجبط زاقتِ ٍ ّوچٌیي اظ زاًف ٍ تجبضة اؾبتیس ثْطُ هٌس قًَس. اًَاع ػضَیت :
جبهؼِ :1هؿئَلیي اًجوي ،پػٍّكگطاى ٍ ولیِ افطازی وِ زاضای زضجِ زوتطی ٍ وبضقٌبؾی اضقس زض ضقتِ ّبی ٍاثؿتِ ثِ ػلَم پعقىیٌّ ،ط ،ػلَم تَاًجركی ،ػلَم اًؿبًی ( ضٍاًكٌبؾی ،هطزم قٌبؾی ،جبهؼِ قٌبؾی ٍ ٍ )...ضقتِ ّبی ٍاثؿتِ هی ثبقٌس. جبهؼِ :2ولیِ افطازی وِ زاضای زضجِ وبضقٌبؾی زض یىی اظ ضقتِ ّبی فَق الصوط ثبقٌس. جبهؼِ :3ولیِ زاًكجَیبى وِ زض یىی اظ ضقتِ ّبی فَق الصوط ثِ تحهیل اقتغبل زاضًس ٍ یب زاًكجَیبى ضقتِ ّبی هرتلف وِ ػاللوٌس ثِ فؼبلیت زض ظهیٌِ هَضَع اًجوي هی ثبقٌس.
ػضَیت افتربضی :قرهیتْبی ایطاًی ٍ ذبضجی وِ همبم ػلوی آًبى حبئع اّویت ذبنی هی ثبقس ٍ یب زض پیكجطز اّساف اًجوي، ووىْبی هَثط ٍ اضظًسُ ای ًوَزُ ثبقٌس.
ًَع ػضَيت ػضَ تبزُ O
توذيذ ػضَيت O
اطالػبت کبهل توبض خَد را بذقت ٍارد ًوبيیذ ًبم
ًبم خبًَادگي
رؼتِ ٍ هقطغ تحصیلي
ؼغل
داًؽگبُ /ظبزهبى
ؼوبرُ تلفي (هَببيل) آدرض الكترًٍیك
آدرض ٍة ظبيت
آدرض ٍ کذ پعتي هٌسل (هحل اقبهت) لطفب در هَرد خَدتبى بگَيیذ... اًتؽبر هقبلِ Oدر چِ زهیٌِ اي؟. فؼبلیت ٌّري Oدر چِ زهیٌِ اي؟ هؼوبري Oگرافیك/هبلتي هذيب Oؼؼر ًَ Oيعٌذگي Oهطبلؼِ ادبیبت Oتئبتر Oهَظیقي Oحرکبت فرم Oتلَيسيَى ٍ ظیٌوب Oطراحيً /قبؼي Oهجعوِ Oػكبظي Oهیكط هذيب Oغیرُ؟ فؼبلیت در حَزُ ظالهت Oدر چِ زهیٌِ اي؟ هذيريت Oتذريط Oداًؽجَ Oکبرهٌذ Oداٍطلببًِ O رؼتِ ي هَرد ػالقِ در ٌّر درهبًي تئبتردرهبًي Oهَظیقي درهبًي Oقصِ ٍ ؼؼر درهبًي Oحرکبت ريتویك درهبًي ً Oقبؼي درهبًي Oفیلن ٍ ػكط درهبًي O ػالقِ هٌذ بِ دريبفت خبرًبهِ اًجوي بِ ًؽبًي ايویل خَد ّعتنO .
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Research-educational Association of Art Therapy انجمن پژوهشی -آموزشی هنر درمانی
فؼبلیتْبي اًجوي پصٍّؽي -آهَزؼي ٌّردرهبًي در ظبل ًخعت آهَزؼي 1910 -11 کبرگبّْبي آهَزغ ٌّر درهبًي
زض ؾاابل آهَظقاای 1390 -91تؼااساز 9وبضگاابُ ًظااطی ٍ ػولاای آهااَظـ تئاابتط زضهاابًی ٍ ًمبقاای زضهاابًی زض هحل هطوع ضقس اؾتؼسازّبی زضذكبى ثطگعاض گكت. ً 136فااط زض 72ؾاابػت وبضگاابُ آهَظقاای قااطوت ًوَزًااس .قااطوت وٌٌااسگبى زاًكااجَیبى ٍ فاابضؽ التحهیالى ضقتِ ّابی هرتلاف پعقاىی ،ػلاَم اػهابة ،پطؾاتبضی ،تىٌؿایي اتابق ػوال ،زًساًپعقاىی، ضٍاًكٌبؾاایً ،مبقاای ،فاایلن ؾاابظی ،تئاابتط ،ثبؾااتبى قٌبؾاای ،گطافیااهً ،واابیف ػطٍؾااىی ،فلؿاافِ ٍ ػلااَم اجتواابػی ثَزًااس .ایااي وبضگبّْااب زض هطوااع ضقااس اؾااتؼسازّبی زضذكاابى زاًكااگبُ ػلااَم پعقااىی تْااطاى ثطگعاض قسًس. دٍرُ ّبي آهَزغ آکبدهیك ٌّر درهبًي
زاًكااگبُ ػلااَم پعقااىی تْااطاى ثااِ ؾااجت ثطذااَضزاضی اظ ثْتااطیي اؾاابتیس حااَظُ زضهاابى ،پیكااتبظ ثطگااعاضی زٍضُ ّاابی آهَظقاای ًااَیي زض ایااطاى هاای ثبقس .اًجوي پػٍّكی -آهَظقی ٌّط زضهابًی هطواعی ٍاثؿاتِ ثاِ زاًكاگبُ ػلاَم پعقاىی تْاطاى ،ثاب ّاسف آهاَظـ ٍ تاطٍی ٌّاط زضهابًی تبؾایؽ قسُ اؾت .اًجوي ثب اّتوبم ثاِ تَلیاس زاًاف ثاَهی ٌّاط زضهابًی ٍ هغابثك ثاب زاًاف ضٍظ ،هاطٍا هؿایطی آوبزهیاه ثاطای آهاَظـ ٌّاط زضهابًی زض ایطاى اؾت. ضٍیىطز آهَظقی ٌّط زضهبًی زض ؾِ هطحلِ هی ثبقس: هطحلِ ًظطی ( ّكت زٍضُ ) -هطحلِ ػولی ( چْبض زٍضُ ) -هطحلِ وبض آهَظی ( ؾِ زٍضُ ) ًرؿتیي هطحلِ آهَظـ (هطحلِ ًظاطی) ثاِ ناَضت غیاط حضاَضی ٍ هطاحال زیگاط ثاِ ناَضت حضاَضی ثطگاعاض های قاَز .هطحلاِ ػولای ٍ هطحلاِ واابضآهَظی زض زاًكااگبُ ػلااَم پعقااىی تْااطاى ٍ هطاوااع زضهاابًی ٍاثؿااتِ ثطگااعاض هاای گااطزز .زض پبیاابى ّااط هطحلااِ اػتجاابض ًبهااِ اًجوااي ٌّااط زضهاابًی زاًكگبُ ػلَم پعقىی تْطاى ثطای زاًف آهَذتگبى نبزض هی قَز. هرحلِ ًظري آهَزغ ٌّر درهبًي زٍضُ ّبی آهَظـ غیط حضَضی ٌّط زضهابًی ثاطای ػاللاِ هٌاساى ثاِ اؾاتفبزُ اظ هسالیتاِ ّابی ٌّاطی ًظیاط ًمبقای ،عطاحای ٍ هجؿاوِ ؾابظی ثاطای وَزوابى ٍ ثاابلغیي ،زض ظهیٌااِ ّاابی هرتلااف اؾاات .قاارم پااؽ اظ گصضاًااسى ایااي زٍضُ ّااب آهاابزُ هاای قااَز تااب زض ؾااطٍیؽ ّاابی ذااسهبت اجتواابػی ،هااساضؼ ٍ هْااسّبی وَزن ،هطاواع زضهابًی ٍ ...هكاغَل ثاِ فؼبلیات قاَز .زٍضُ ّابی آهاَظـ غیاط حضاَضی اظ ؾطفهالْبی ضٍاًكٌبؾایٌّ ،طّابی ثهاطی ٍ پاػٍّف تكاىیل قاسُ اؾت .زض عی زٍضُ ّابی غیاط حضاَضی ،اضؾابل ّفتگای هغبلات زضؾای ثاِ ایویال هتمبضای ناَض ت های گیاطز .زض پبیابى ّاط زٍضُ اهتحابى ًظاطی زض زاًكاگبُ ػلَم پعقىی تْطاى ثطگعاض هی قَز .هطحلِ آهَظـ ًظطی اظ ٍ 25احس تكىیل قسُ اؾت. هرحلِ ػولي آهَزغ ٌّر درهبًي زاًف آهَذتگبى هطحلِ ًظطی پؽ اظ گصضاًاسى اهتحابى جابهغ ًظاطیٍ ،اضز هطحلاِ ػولای های قاًَس .ایاي هطحلاِ اظ چْابض زٍضُ ٍ ٍ 12احاس تكاىیل قاسُ اؾات. غبیت ایي هطحلِ آقٌبیی ػولی ثب اثعاضّبٍ ،اؾغِ ّبی ٌّطی ٍ عطیمِ اؾتفبزُ اظ تىٌیىْبی ٌّط زضهبًی هی ثبقس. هرحلِ کبر آهَزي آهَزغ ٌّر درهبًي زض ایي هطحلِ ًیع زاًاف آهَذتگابى پاؽ اظ گصضاًاسى اهتحابى جابهغ ػولایٍ ،اضز هطحلاِ وابضآهَظی های قاًَس .ایاي هطحلاِ اظ زٍ زٍضُ پاػٍّف ثابلیٌی هكاتول ثط ٍ 16احس تكىیل قسُ اؾت. 24
Research-educational Association of Art Therapy انجمن پژوهشی -آموزشی هنر درمانی
پرٍشُ برگساري کبرگبّْبي آؼٌبيي هراکس داًؽگبّي کؽَر بب ٌّر درهبًي
زض توبهی ػطنِ ّبی ػلوای زًیاب اثاساع ٍ ًاَگطایی اظ اناَل حتوای ٍغیاط لبثال اًىابض ػلاَم اؾات .ػلای الرهاَل ػلاَم پبیاِ ٍ ثاِ عاَض اذام ػلَم و بضثطزی .ثِ ّوایي زلیال تَلاس زضهبًْابی هىوال زض ضقاتِ ّابی ػلاَم زضهابًی ًیاع اظ ایاي زؾاتِ ثاَزُ واِ زض زًیاب ضقاس لبثال هالحظاِ ای زاقتِ اؾت .زضایطاى ٌّط زضهبًی ثیكاتط ثاِ ناَضت ًظطیاِ ناطف ٍاضز قاس ٍتبؾابلْب فماظ زض غبلات ًظطیاِ ،همبلاِ ٍگفتابض ثاِ ثحاث گاصاضزُ هیكاس آًْن ثحثی اثتط ٍگصضا. پطٍغُ آقٌبؾبظی ٍتطثیت ثٌیبزیي زضهبًگطاى ؾطاؾط وكَض ثب ٌّط زضهبًی زضغبلت وبضگبُ ّب ٍ والؾْبی آهَظقی ثب اّساف شیل هی ثبقس.
تَلیس ٍتطثیت هطثی ثطای زؾتِ ّبی ثعضگتطی اظ اًؿبًْب ثِ ذهَل اقربل ثبًیبظّبی ٍیػُ ایجبز پبیگبُ ّبی ػلوی ثطای زاًف هىول ٌّطزضهبًی ایجبز هحیغْبی ثیكتطی ثطای ضقس اؾتفبزُ وٌٌسگبى اظایي زضهبى ایجبزیه ٍاحس اقتغبلی جسیس ثطای زاًف آهَذتگبى ٍزاًكجَیبى ػلَم زضهبًی ایجبز یه الگَی ثَهی زض ایطاى تىثیط هطثی ٍزضعَل ایي تىثیط تكسیس ذسهبت ٍ وبض آفطیٌی
زاًكگبّْبی ًوًَِ وِ زض آًْب ایي وبضگبّْب ثطگعاض قسُ ػجبضتٌس اظ :زاًكگبُ ػالهِ عجبثبیی ،زاًكگبُ ػلَم پعقىی تْطاى ،زاًكگبُ قْیس ثْكتی ٍ ة ظبيت ٌّردرهبًي پبرظیبى ( www.persianarttherapy.orgؾبیت ضؾوی اًجوي پػٍّكی -آهَظقی ٌّطزضهبًی)
ػالٍُ ثاط اًتكابض اذجابض فؼبلیتْابی اًجواي زض ؾابیتْبی هطواع ضقاس اؾاتؼسازّبی زضذكابى ،هطواع پػٍّكاْبی ػلوای زاًكاجَیبى ٍ ضٍاثاظ ػواَهی زاًكااگبُ ػلااَم پعقااىی تْااطاى ،ؾاابیت ٌّااط زضهاابًی پبضؾاایبى ثؼٌااَاى ؾاابیت ضؾااوی اًجوااي پػٍّكاای -آهَظقاای ٌّطزضهاابًی ثااب حوبیاات هطوااع پػٍّكْبی ػلوی زاًكجَیبى اظ آثبى هبُ ؾبل 1391ثب تَجِ ثِ اّساف شیل ضاُ اًساظی قس.
اًتكبض اذجبض فؼبلیتْبی اًجوي هبًٌس ظهابى ٍ هىابى ثطگاعاضی وبضگبّْاب ،جلؿابت ػواَهی اًجواي ،جلؿابت هؿائَلیي اًجواي ثاب اقاربل شی ناالح زاًكگبّی ٍ غیط زاًكگبّی تطجوِ ٍ اًتكبض اذجبض ٌّط زضهبًی زض جْبى ثِ هٌظَض تجییي جبیگبُ ٍ ضٍیىطزّبی هرتلف جبهؼِ جْبًی ثِ اؾتفبزُ اظ ٌّط ثِ هٌظَض زضهبى ثجت ًبم ایٌتطًتی ػضَیت زض اًجوي ثجت ًبم ایٌتطًتی زض والؾْبی آهَظقی حضَضی ٍ غیط حضَضی عطاحی ثركی ٍیاػُ ثاطای پػٍّكاگطاى ٌّطزضهابًی ثاِ هٌظاَض ثحاث ٍ تجابزل اعالػابت ثایي پػٍّكاگطاى ٍ اؾابتیس ٍ ّوچٌایي هؼطفای ٍ ثبضگاصاضی همبالت هطتجظ ثب ظهیٌِ پػٍّكی ایكبى اظ هٌبثغ اعالػبتی هؼتجط ثیي الوللی اضؾبل ایویل ثِ اػضب اًجواي تَؾاظ اؾابتیس ٍ هؿائَلیي اًجواي ٍ زضیبفات ًظاطات ایكابى ثاِ هٌظاَض تمَیات هكابضوت وابض گطٍّای زض پاطٍغُ ّاب ٍ ثطًبهِ ّبی اًجوي
گسيذُ هحتَيبت ٍة ظبيت ٌّردرهبًي پبرظیبى اخببر ً كؿت ترههی " ثىبضگیطی ٌّط زض ٌّطزضهبًی" ثب حضَض زوتط هحوَز زٍؾتی (اؾتبز ثطگعیسُ زاًكگبُ ػلَم پعقىی تْطاى) ٍ ػاللِ هٌساى جلؿِ هؿئَل اًجوي پػٍّكی -آهَظقی ٌّطزضهبًی ثب زوتط حؿي ػكبیطی (ًَضٍؾبیىتطیؿت) ّ وىبضی اًجوي پػٍّكی -آهَظقی ٌّطزضهبًی ثب قیطذَاضگبُ آهٌِ قْال ًرؿت (اؾتبز ٌّطزضهبًی زض ثطیتبًیب) هْوبى اًجوي پػٍّكی -آهَظقی ٌّطزضهبًی 25
Research-educational Association of Art Therapy انجمن پژوهشی -آموزشی هنر درمانی
دظت ًَؼتِ ّب وبضگبُ ٌّط (قْطیبض ؾپْط) ثْطُ گیطی اظ فیلن ّب زض تغییط حبالت غن ٍ اًسٍُ ثب ًگبّی ثِ فیلن فطیسا (ؾیسُ ضلیِ ّبقوی) ضلم ٍ حطوبت آییٌی زض فطٌّگ ایطاى (ًهیطالسیي ذبتوی) ً گبّی ثط هفَْم ػىؽ زضهبًی (هحؿي ذؿطٍی) ً گبّی ثط هفَْم وتبة زضهبًی (هحوَز گلعاضی) تئبتطزضهبًی ٍ پلَضالیؿن زیٌی (ضؾَل حك قٌبؼ) جْبى ٌّردرهبًي (اخببر رٍز ٌّردرهبًي در جْبى بِ زببى فبرظي) ترفیف ػالئن العایوط ثب ٌّط زضهبًی ثیوبضؾتبى جىؿَى زض ثطًبهِ زضهبًی ذَز اظ ٌّط ّبی جسیس اؾتفبزُ هی وٌس آٍاظ ذَاًسى ثِ ػٌَاى قیَُ جسیس زضهبًی هؿیط ٌّط زضهبًی زض فطٌّگ ههط ٌّ طّبی التیبم ثرف اثجبت ًمف ؾبظًسُ ی ٌّط زضهبًی زض ووه ثِ ثطٍظ احؿبؾبت ٌّ ط ؾطػت ثْجَزی ضا افعایف هیسّس پطٍغُ ٌّط زضهبًی ؾیبض ٍ ایجبز فطنت ّبی ثؿیبض ثطای ثطٍظ ذاللیت تبویس ثیوبضؾتبى جسیس پطیٌؿتَى ثط اّویت ٌّط زض ضًٍس زضهبى هبٌّبهِ ٌّر ٍ ظالهت
ثب تَجِ ثِ ًیبظ جبهؼِ زاًكاگبّی ،اهتیابظ ًرؿاتیي ًكاطیِ ٌّاط زضهابًی زض ایاطاى ثاب ػٌاَاى "ٌّاط ٍ ؾاالهت" ٍ هحَضیات آهاَظـ ٍ اعاالع ضؾابًی تْیِ قس .نبحت اهتیابظ ٍ هاسیط هؿائَل ًكاطیِ آلابی زاٍز نافطی ٍ ؾاطزثیط ًكاطیِ ذابًن فطًاَـ ذوؿاِ های ثبقاس .هرابعجیي هبٌّبهاِ ػلوای- فطٌّگی ٍ ٌّطی "ٌّط ٍ ؾالهت" اؾابتیس ٍ زاًكاجَیبى زاًكاگبُ ػلاَم پعقاىی تْاطاى ٍ ؾابیط هطاواع آهَظقای هاطتجظ ایاطاى ٍ ذابضا وكاَض های ثبقٌسً .كطیِ ثِ زٍ ظثبى فبضؾی ٍ اًگلیؿی چبح هی قَز. هَضَػبت انلی ًكطیِ:
ًمبقی زضهبًی تئبتط زضهبًی هَؾیمی زضهبًی لهِ زضهبًی قؼط زضهبًی
ػىؽ زضهبًی فیلن زضهبًی حطوبت ضیتویه زضهبًی ضٍاًسضهبًی پػٍّف زض ٌّط زضهبًی
اثعاضّب ٍ هسیَهْبی ٌّطی زض ٌّط زضهبًی هؿبئل اذاللی زض ٌّط زضهبًی هؿبئل لبًًَی زض ٌّط زضهبًی
گرٍّْبي هطبلؼبتي
گطٍّْبی هغبلؼبتی زض ّط 6قبذِ فؼبلیت اًجوي ثِ هٌظَض تجبزل هغبلؼبت هَضَع ثیي اػضبی گطٍُ ٍ افعایف زاًف ٌّط زضهبًی تكىیل هی قًَس. لَاًیي گطٍّْبی هغبلؼبتی اًجوي پػٍّكی -آهَظقی ٌّط زضهبًی هكتول ثط 21ثٌس زض تبضید 4ذطزاز 1391ثِ تهَیت هؿئَلیي اًجوي ضؾیسٍ . ًرؿتیي گطٍُ هغبلؼبتی فؼبلیت ذَز ضا اظ تیطهبُ ؾبل 1391آغبظ ًوَز .جلؿبت گطٍّْبی هغبلؼبتی ثِ هست 2ؾبػت زض ّفتِ هی ثبقسّ .ط جلؿِ زض زٍثرف ثطگعاض هی قَز .زض عی ثرف اٍل اػضبی گطٍُ ًتیجِ هغبلؼِ ذَز ضا تَضیح هی زٌّس ٍ زثیط جلؿِ ًتبی ضا یبززاقت هی ًوبیس .زض ثرف زٍم زثیط جلؿِ ًتبی هغبلؼبت ضا لطائت هی وٌس ٍ حبضطیي پیطاهَى ًتبی ،ثحث هی ًوبیٌس. 26
Research-educational Association of Art Therapy انجمن پژوهشی -آموزشی هنر درمانی
ً وبيػ "درُ گل ظرخ ٍ ؼبّسدُ ّبي ؼیردل" زض ضاؾتبی فؼبلیتْبی اًجوي ،ؾیعزُ ًفط اظ هجتالیبى ثِ ؾٌسضٍم زاٍى عی 8هبُ تحت ًوبیف زضهبًی لطاض گطفتٌس .ؾپؽ ثب اؾتفبزُ اظ تىٌیىْبی تئبتطزضهبًی ًوبیكی ثب ػٌَاى "زضُ گل ؾطخ ٍ قبّعزُ ّبی قیطزل" ثب ثبظی ایي افطاز آهبزُ قس .ایي ًوبیف زض ضٍظّبی 10 ٍ 9اضزیجْكت هبُ 1391زض هحَعِ ی زاًكگبُ ػلَم پعقىی تْطاى اجطا قس .ثیٌٌسگبى ایي ًوبیف زاًكجَیبى ٍ اؾبتیس زاًكگبُ ثَزًسً .وبیف هصوَض ثب ّسف ًكبى زازى تبثیط تئبتطزضهبًی زض هجتالیبى ثِ ًَػی اذتالل شٌّی -حطوتیً ،وبیف تَاًبییْبی آًْب ٍ افعایف اػتوبز ثِ ًفؽ زض آًْب ثِ نَضت ذیبثبًی زض زاًكگبُ اجطا قس.
پرٍشُ ًوبيػ درهبًي هبتاليبى بِ ظٌذرٍم داٍى در فذراظیَى بیي الوللي داًؽجَيبى پسؼكي ( )IFMSA زض هجوغ ػوَهی فسضاؾیَى ثیي الوللی زاًكجَیبى پعقىی وِ زض ؾبل 2012زض وكَض ٌّسٍؾتبى ثطگعاض قس؛ ایي پطٍغُ زض ثیي پطٍغُ ّبی ثیف اظ 100وكَض ػضَ ،جعٍ 10پطٍغُ ؾبل 2012فسضاؾیَى لطاض گطفت .اضائِ پطٍغُ تَؾظ ذبًن هلیىب حٌیفیْب زض 11اگَؾت زض هحل هجوغ ػوَهی فسضاؾیَى زض قْط هَثبی (ثوجئی) ٌّسٍؾتبى نَضت گطفت .ثب اًتربة ایي پطٍغُ ثؼٌَاى 10پطٍغُ ثطتط ؾبل ، 2012ایطاى ثطای ًرؿتیي ثبض تَاًؿت ایي جبیگبُ ضا زض ثیي پػٍّكگطاى فسضاؾیَى ثیي الوللی زاًكجَیبى پعقىی وؿت ًوبیس .فسضاؾیَى ثیي الوللی زاًكجَیبى پعقىی اظ ؾبل 1951ثِ ػٌَاى ثعضگتطیي هطوع زاًكجَیبى پعقىی ظیط ًظط ؾبظهبى هلل ٍ ثب ّوىبضی ؾبظهبى جْبًی ثْساقت فؼبلیت هی ًوبیس .ثؼالٍُ پطٍغُ ًوبیف زضهبًی هجتالیبى ؾٌسضٍم زاٍى ثؼٌَاى 10 ًبهعز ًْبیی هؿبثمبت ثیي الوللی REX CROSSLEY AWARDSزض ؾبل 2012قٌبذتِ قس .جْت هكبّسُ ثَلتي فسضاؾیَى ثِ لیٌه ظیط هطاجؼِ ًوبییس
http://issuu.com/ifmsa/docs/projects_bulletin_print 27
Research-educational Association of Art Therapy انجمن پژوهشی -آموزشی هنر درمانی
هعئَلیي ٍ ّوكبراى ظبل اًجوي پصٍّؽي -آهَزؼي ٌّردرهبًي
هؿئَل اًجوي :زاٍز نفطی
هسیط ؾبیت :اهیطحؿیي ػطة
هؿئَل اهَض آهَظقیّ :بًیِ فتبحی
ػىبؼ ٍ فیلوجطزاض :فطیجب زاضاثی هٌف
هؿئَل اهَض پػٍّكی :ؾؼیس ؾلیوبى جبّی
هتطجن :ثطیب حبتوی
بب ظپبض از ّوكبري ّبي بي دريغ اظتبد هْرببى ظرکبر خبًن دکتر پرٍيي پبظبالر ريبظت هرکس رؼذ اظتؼذادّبي درخؽبى
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هؿئَل گطٍُ تئبتطزضهبًی :ضؾَل حك قٌبؼ
Research-educational Association of Art Therapy انجمن پژوهشی -آموزشی هنر درمانی
اطالػبت توبض :تْطاى -ذیبثبى اًمالة -ذیبثبى لسؼ -ذیبثبى پَضؾیٌب -زاًكگبُ ػلَم پعقىی تْطاى- ؾبذتوبى هطوعی -عجمِ ی ؾَم -هطوع پػٍّكْبی ػلوی زاًكجَیبى www.persianarttherapy.org www.ssrc.tums.ac.ir info@persianarttherapy.org D.safari:scarcebeamea@yahoo.es
ؼْريَر 1911خَرؼیذي
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