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IMAGINING WINDMILLS

Imagining Windmills presents a compilation of scholarly chapters by selected

authors of global standing in the arts therapies.
This book reflects the theme of the 15th International Conference of the
European Consortium for Arts Therapies (ECArTE), held in Alcalá de Henares,
Spain, birthplace of Miguel de Cervantes. This innovative work seeks to further
understanding of arts therapy education, practice and research and incorporates
current thinking from art therapists, dance-movement therapists, dramather-
apists and music therapists. Writers from Belgium, Germany, Greece, India,
Israel, Italy, The Netherlands, Spain, Sweden, UK and USA combine to give an
international voice to the book, which celebrates cultural distinctiveness, while
also presenting shared intercultural developments in the professions. This inter-
disciplinary publication explores questions of the unknown and the imagined,
misconception, delusion, truth and trust in the arts therapies. It enquires into
ways in which education and the practice of the arts therapies engage with the
imagination as a place of multiple realities, which may lead us closer to finding
our truth.
This book will be of interest and relevance not only to those in the arts
therapeutic community, but also to a broad audience including those in related
professions – for instance psychology, sociology, the arts, medicine, health and
wellbeing and education.

Marián Cao is an Art Therapist and Professor of Art Education and Art Therapy
at the University Complutense of Madrid, Spain. She teaches and lectures in Spain
and internationally. Founder director of the AT master’s programme at University
Complutense of Madrid, and former director of the Ph.D. programme on Art, Art
Therapy and Social Inclusion, she has coordinated several Latinoamerican Uni-
versity programmes.
Richard Hougham is Principal Lecturer at Royal Central School of Speech and
Drama, University of London where he is course leader of the MA Drama and
Movement Therapy programme. He is Chair of the Executive Board of European
Consortium of Arts Therapies Education (ECArTE) and has a particular interest in
intercultural dialogues and epistemology in the international teaching of the arts
therapies.

Sarah Scoble is Honorary President of ECArTE. She served on the Execu-

tive Board of ECArTE for over twenty years and was Chair from 2009 to 2017.
Founder trainer in southwest UK in Dramatherapy and former director of Masters
in Dramatherapy programmes, University of Exeter, she is Series Editor with Diane
Waller for the annual International Research in the Arts Therapies publication with
Routledge, in association with ECArTE and the International Centre for Research
in Arts Therapies (ICRA), Imperial College, London.
IMAGINING WINDMILLS
Trust, Truth, and the Unknown
in the Arts Therapies

Edited by
Marián Cao, Richard Hougham, Sarah Scoble
First published 2022
by Routledge
2 Park Square, Milton Park, Abingdon, Oxon OX14 4RN
and by Routledge
605 Third Avenue, New York, NY 10158
Routledge is an imprint of the Taylor & Francis Group, an informa business
© 2022 selection and editorial matter, Marián Cao, Richard Hougham,
Sarah Scoble; individual chapters, the contributors
The right of Marián Cao, Richard Hougham and Sarah Scoble to be
identified as the authors of the editorial material, and of the authors for
their individual chapters, has been asserted in accordance with sections
77 and 78 of the Copyright, Designs and Patents Act 1988.
All rights reserved. No part of this book may be reprinted or reproduced or
utilised in any form or by any electronic, mechanical, or other means, now
known or hereafter invented, including photocopying and recording, or in
any information storage or retrieval system, without permission in writing
from the publishers.
Trademark notice: Product or corporate names may be trademarks or
registered trademarks, and are used only for identification and explanation
without intent to infringe.
British Library Cataloguing-in-Publication Data
A catalogue record for this book is available from the British Library
Library of Congress Cataloging-in-Publication Data
A catalog record has been requested for this book

ISBN: 978-0-367-62673-0 (hbk)

ISBN: 978-0-367-62669-3 (pbk)
ISBN: 978-1-003-11020-0 (ebk)
DOI: 10.4324/9781003110200

Typeset in Bembo Std

by KnowledgeWorks Global Ltd.
CONTENTS

List of figures vii

Biographiesix
European Consortium for Arts Therapies Education (ECArTE) xvii
Acknowledgementsxix
Prefacexx

1 On the unknown that art addresses: Space, vacuum

and awareness in the arts 1
Marián López Fdz. Cao

2 Educating the Quixotic imagination 17

Robert D. Romanyshyn

3 Changing truths: Deconstructing and reconstructing

the elusive in art therapy 29
Uwe Herrmann

4 Dramatherapy and materiality 54

Richard Hougham, Bryn Jones

5 The dramatic self paradigm: Human nature from a

dramatherapist’s perspective 68
Salvo Pitruzzella
vi Contents

6 Aesthetics of connection in the performance of

lived experience 87
Jean-François Jacques

7 Intercultural art therapy - the search for an inner home 105

Irit Belity

8 Samagama - Dialogues on the development of professional

creative arts therapy practice, research and training from India123
Oihika Chakrabarti,Tripura Kashyap,
Maitri Gopalakrishna, Nina Cherla

9 Trust, art therapy and care: An art therapy experience at

three community health centres 147
Ana Serrano Navarro,Tania Ugena Candel, Andrea López Iglesias

10 Dance movement therapy for couples: Disclosing

multiple truths in the relationship 164
Einat Shuper Engelhard, Maya Vulcan

11 Working psychoanalytically with clients with learning

disability: the real giants we face: A long-term music
therapy with an adopted girl with significant multiple
disabilities180
Joy Gravestock

12 What are we talking about?: Development of an empirical

base for art therapy with children diagnosed with
autism spectrum disorders 195
Celine Schweizer

13 When the boat doesn’t dare to set sail: Working with

trust issues in children 211
Sibylle Cseri


FIGURES

3.1 Gallery visitor, Germany 2019. Uwe Herrmann.34

3.2 Rebecca: Helpful creature, white stoneware. Uwe Herrmann.41
3.3 Rebecca: Self as gyroscopic figure, white stoneware.
Uwe Herrmann.42
3.4 Rebecca: “Ambivalence of my ‘now,’” white stoneware.
Uwe Herrmann.43
3.5 Rebecca: Self beating, white stoneware. Uwe Herrmann.44
3.6 Rebecca: Negotiation between conflicting parts of self, white
stoneware. Uwe Herrmann.45
3.7 Rebecca: Unfinished, destroyed and reclaimed self-figure,
white stoneware. Uwe Herrmann.46
3.8 Rebecca: Hybrid portrait of father and Rebecca, white
stoneware. Uwe Herrmann.47
3.9 Rebecca: Self as puzzled figure with tilted scales, white
stoneware. Uwe Herrmann.48
3.10 Matryoshka dolls, private collection © Claus Dorsch, 2019.50
5.1 The nuclear self. S. Pitruzzella.78
5.2 The nuclear resource system. S. Pitruzzella.79
5.3 Engaging with the world. S. Pitruzzella.82
5.4 The dramatic self. S. Pitruzzella.83
6.1 Performer 5 cross-performance video analysis. ©J-F Jacques.98
6.2 Performer 1 cross-performance video analysis. ©J-F Jacques.99
6.3 Performer 7 cross-performance video analysis. ©J-F Jacques.100
7.1 Painting 1. The grave as an inner home. 108
7.2 Painting 2. I. Belity.114
7.3 Painting 3. I. Belity.115
7.4 Painting 4. I. Belity.116
viii Figures

7.5 Painting 5. I. Belity. 116

7.6 Painting 6. I. Belity. 117
7.7 Painting 7. I. Belity. 118
8.1 Facilitating an experiential art therapy training session with
the first PG Dip in Expressive Arts Therapy cohort at
St. Xavier’s College Mumbai 2019. O. Chakrabarti. 128
8.2 A dance movement therapy training course in action at
Artsphere, Pune. O. Chakrabarti. 130
8.3 A still from the play: Positively Shameless. O. Chakrabarti. 135
8.4 Meeting in music. O. Chakrabarti. 138
8.5 The parts that form the whole. O. Chakrabarti. 142
12.1 Ascending levels of evidence on the effectiveness of
interventions. C Schweizer. 200
12.2 COAT model. C Schweizer. 205
13.1 Anja’s chair. S. Cseri. 216
13.2 Mario’s cruise ship. S. Cseri. 220
13.3 Adama and her mother. S. Cseri. 222
13.4 Adama’s playful expression. S. Cseri. 222
13.5 Adama’s body map. S. Cseri. 224
BIOGRAPHIES

Editors
Marián López Fdz. Cao, PhD, is Professor and Chair of Art Education and Art
Therapy at the University Complutense of Madrid, Spain. She was the founding
director of the University’s Art Therapy master’s programme and formerly the
director of the PhD programme on Art, Art Therapy and Social Inclusion.
She teaches and lectures both in Spain and internationally and has coordinated
several Latinoamerican University programmes. Marián Cao has published
several books on women and art, art therapy and trauma and the social functions
of art. She is the director of the Research Group 941035 “Social Applications of
Art: art therapy and education” and main researcher of ALETHEIA, “Arts, art
therapy, trauma and emotional memory.” Marián has directed several national
and European research projects, including DiverCity, (“diving into diversity in
museums and in the city”), ARIADNE (Art and Intercultural integration) and
MUSYGEN on gender and museums.

Richard Hougham, MA, is a Principal Lecturer and Course Leader of the MA

in Drama and Movement Therapy at the Royal Central School of Speech and
Drama, University of London, England. He has a special interest in storytelling
and the language of myth as part of the Sesame approach to dramatherapy and as
a teaching pedagogy. He is currently Chair of the European Consortium of Arts
Therapies Education (ECArTE). Richard continues to develop his interest in the
connections between analytical psychology and the arts. Publications include
Hougham, R. and Jones, B. (Eds.) (2017) Dramatherapy: Reflections and Praxis.
London: Palgrave Macmillan, and Hougham, R. & Jones, B. (Eds.) (2021) The
Nature of Interruption. London: Routledge.

Sarah Scoble, MA, is Honorary President of ECArTE and Series Editor with
Professor Diane Waller of the International Research in the Arts Therapies publication,
x Biographies

with Routledge. She is also one of four collaborators for the International Centre
for Research in Arts Therapies (ICRA), Imperial College, London. She served
on the Executive Board of ECArTE for several years and was Chair from 2009
to 2017. Formerly, Head of the Centre for Performing Arts and Media at South
Devon College, UK, where she was also a founder trainer of the UK’s first
southwest postgraduate Diploma in Dramatherapy. Later, Course Leader of
the Exeter-based Masters in Dramatherapy programmes and Director of the
Southwest School for Dramatherapy Limited. She has edited many ECArTE
publications and continues to develop her long interest in community theatre.

Authors
Irit Belity, MA, was formerly a lecturer and supervisor at the School of Creative
Arts at the University of Haifa and the Kibbutzim College in Tel Aviv, Israel,
and has been an art therapist for 20 years. She works in the education system
as a manager and supervisor of therapists, and in private practice. Publications
include: Belity, I. (2017) ‘A relationship between the art therapist - parents within
the educational system’. In: Snir, S. and Regev, D. (Eds.) When art therapies meet
the Israeli educational system, practical aspects. Israel: University of Haifa Press, and
Belity, I., Regev, D. & Snir, S. (2017) Supervisors’ perceptions of art therapy in the
Israeli education system. International Journal of Art Therapy.

Tania Ugena Candel, PhD, holds a doctorate in Education at the Complutense

University of Madrid in addition to her Master´s degree in Art Therapy and
Art Education for Social Inclusion and Bachelor’s degrees in Anthropology and
in Social Education. Tania trained in Flamenco and Classical Dance. She is
currently director of Sunflower Art Therapy in Motion; Professor of the Degree
in Performing Arts – Antonio de Nebrija University and Nebrija Institute of
Professional Skills; and collaborator with Education Area in the National
Prado Museum. Art therapist at the Community Health Centers-CMSc
Joven-of Madrid City Council (2017–2018). She has experience with children,
adolescents, families and women at risk of social exclusion, as well as people with
mental disorders, Alzheimer´s disease and disabilities in general, affective-sexual
education and drug addictions.

Oihika Chakrabarti, MA, is Co-Founder and Chairperson of The Art Therapy

Association of India (TATAI). Oihika (MFA, RATh, DAT-c), a Masters in
Fine Arts (MFA) from Visva Bharati University, Santiniketan, was awarded
the Commonwealth Scholarship in 1997 to pursue postgraduate training in Art
Psychotherapy at Goldsmiths College, University of London, UK. She pioneered
Art Therapy in India, spearheading the first art psychotherapy clinical service at
the Tata Institute of Social Science’s Child Guidance Clinic at Wadia Children’s
Hospital, Mumbai, in 1999. In 2004, Oihika founded Manahkshetra Foundation
(art for social change) and has over two decades of clinical, developmental,
 Biographies xi

rehabilitative, post-disaster/humanitarian and training experience working in

India. She has contributed to several international publications on art therapy
and is core faculty of art therapy on the PG Dip Expressive Art Therapy
programme at St. Xaviers College, Mumbai. Oihika is in the final stages of
completing her Professional Doctorate in Art Therapy (DAT) from Mount Mary
University, USA, and her doctoral research on decolonising the curriculum aims
to contribute to the creation of the first culturally relevant Masters in Creative
Arts Therapy in India.

Nina Cherla, MA, is Course Leader of Musikverkstan at Furuboda Folkhögskola,

Yngsjö, Sweden. Nina has a Masters in Music Therapy (MA, MT) form University
of South Wales, UK. She is a clinical music therapist based in Malmo, Sweden.
Her professional experience includes a decade of work in public healthcare
working for individuals with special needs in Sweden, India and the UK. She
has collaborated with many well-known organisations such as Music as Therapy
International, Shankar Foundation and The Music Therapy Trust. Nina Cherla
is the founder of Musikterapi Syd, south of Sweden’s biggest co-operative for
music therapists. Nina currently works as a clinical music therapist specialising
in children with social and communication difficulties. She frequently conducts
workshops and training programmes and is an advocate for music therapy both
in Sweden and in India.

Sibylle Cseri, MA, is a lecturer and supervisor at various university art therapy
programmes in Spain and teaches on the Art Therapy Master’s programme in
Berlin, Germany. Based in Barcelona, Spain, Sibylle has been a practising clinical
art psychotherapist for the last eighteen years, working principally with children
and adolescents, having specialised in the field of post-adoption services and
foster care. She is a frequent international guest lecturer, as well as an active voice
for the development of the art therapy profession within Spain and Europe. She
is co-founder and registered member of the Spanish Art Therapy Association
(ATE), of the Spanish Federation of Art Therapists (FEAPA) and has also recently
co-founded the European Federation of Art Therapists (EFAT), where she is
member of its research group.

Einat Shuper Engelhard, PhD, is a research associate at the School of Creative Art
Therapies at the University of Haifa, Israel, and Head of the Dance Movement
Therapy training programme. She is a dance movement therapist (DMT) and
psychotherapist. She served as Head of the Dance Movement Therapy training
programme at Seminar Ha’Kibuzzim (2013–2017). Her clinical experience
includes therapeutic work with Holocaust survivors and therapeutic work
with children and adolescents with emotional difficulties and developmental
problems. Her research focuses on DMT with couples, DMT with adolescents,
DMT interventions, movement as emotional expression, body image and DMT
training.
xii Biographies

Maitri Gopalakrishna, PhD, is a dramatherapist, counselling psychologist and

practice-researcher. She has a PhD from the Tata Institute of Social Sciences
(Mumbai) and an MA in Counselling Psychology with a focus on dramatherapy
from the California Institute of Integral Studies (San Francisco). She is also
a registered drama therapist (RDT) of the North American Drama Therapy
Association. Maitri works in community building, preventative care, mental
health support, psychotherapy and training in a variety of institutional and
community contexts. She has experience of working with issues of gender,
sexual trauma and childhood sexual abuse. Maitri’s recent areas of practice-
research include drama as an intervention for sexual trauma, therapeutic
theatre and drawing on theories and practices from the Natyashastra in
therapeutic work.

Joy Gravestock, MA, is a music therapist in private practice in the UK. She
has been the adoption clinical lead for a Nottinghamshire NHS Trust and
also a member of the adoption panels for Nottinghamshire and Leicestershire
local authorities, offering both her professional and personal experiences to
panel. A specialist in music therapy with children in adoption, Joy works
with local authority and charitable adoption agencies providing music
therapy for families funded by the Adoption Support Fund. Current work
(detailed in her chapter) focuses on adopted children with complex physical
and learning disabilities, where often a disability discovered at birth led to
the relinquishment of a baby. Her PhD research explores how relational
attachments in adoptive families may be enhanced by moments of attunement
occurring within a music therapy relationship. Publications include
Gravestock, J. (2019) Psychoanalytic relational music therapy for children
with high-functioning autism in specialist school placements. In: Dunn, H.,
Coombes, E., Maclean, E., Mottram, H. & Nugent, J. (eds) ‘Music therapy
and autism; a spectrum of approaches’ London: Jessica Kingsley Publishers, and
Gravestock, J. (2021) Music therapy in adoption and trauma. London: Jessica
Kingsley Publishers.

Uwe Herrmann, PhD, is visiting professor in art therapy and deputy course
leader on the MA Programme in Art Therapy at Weissensee University of Art,
Berlin, Germany. Professor Herrmann trained in art therapy at the University
of Hertfordshire and Goldsmiths College, London University. He developed
the art therapy service at the State Training Institute for the Blind (LBZB) in
Hanover, Germany, where he has practised for the past 30 years. Since 2000 he
has lectured on the MA Programme in Art Therapy at Weissensee University
of Art Berlin, where he was appointed visiting professor in art therapy and
deputy course leader in 2014. He has published widely, most notably on the
subjects of disability, vision and blindness in art therapy, and has lectured across
Germany, the EU, the UK and in South Korea.
 Biographies xiii

Andrea López Iglesias, MA, is a Pre-Doctoral Research Fellow at Complutense

University of Madrid (UCM). Andrea is an art therapist, artist and researcher
with a Master´s Degree in Art Therapy and Art Education for Social Inclusion
and a Bachelor’s Degree in Fine Arts. She is currently collaborating with the
Research project I+d+i Aletheia: Art, Art Therapy, Trauma and Emotional
Memory and she has been a member of a research team EARTDI (Applications
of Art for Social Inclusion) at the Musacces Consortium. Art therapist at the
Community Health Centers -CMSc Chamberí- of the Madrid City Council
(2017–2018). As an art therapist, she has developed her profession nationally
and internationally with children who have learning disabilities, those who
have suffered from health problems in the dialysis unit, adults with mental
health disorders, women’s collectives and elderly people.

Jean-François Jacques, PhD, is an independent dramatherapist, clinical

supervisor, educator and researcher with more than 15 years of experience in
the National Health Service and in private practice in the UK. His current areas
of research focus on therapeutic theatre, trauma, shared meaning, aesthetics,
embodiment, intersubjectivity, otherness and spectatorship. He is editorial
board member and reviews editor of the Dramatherapy journal. He is also the
creative director of the Theatre of Lived Experience whose mission is to foster
dialogue through performance. He is published in the field of dramatherapy and
has presented at conferences in the UK and internationally. Recent publications
include a paper in The Arts in Psychotherapy (2020) on “Investigation into the
Production of Meaning in Autobiographical Performance in Dramatherapy,”
a chapter on “Otherness and Meaning in Performance” in the edited volume
Cultural Landscapes in the Arts Therapies (University of Plymouth Press,
2017), and a chapter on “Intersubjectivity in Autobiographical Performance
in Dramatherapy” in the edited volume on The Self in Performance (Palgrave
Macmillan, 2016).

Bryn Jones, MA, teaches drama on the MA in Drama and Movement Therapy
at the Royal Central School of Speech and Drama, London, England, and is a
dramatherapist and clinical supervisor. His current commitments include clinical
practice with individuals in London, group work with adults on an addiction
therapy programme and therapy with families for a bereavement service. Bryn
continues to develop his combined theatre arts/dramatherapy practice through
long-standing associations with an arts-based social welfare initiative in Tokyo
and an environmental arts project in Kyushu, Japan. His most recent publications
are: Jones, B. (2021) ‘The Shakkei of Dramatherapy’. In: Hougham, R. &
Jones, B. (Eds.) Dramatherapy: The Nature of Interruption. London: Routledge and
Jones, B. (2021) ‘An Unresolved Poem of Walking, Noticing and Composing’.
In: Butte, C. & Colbert, T. (Eds.) The Listening Body: Embodied Approaches to
Supervision. London, Routledge.
xiv Biographies

Tripura Kashyap, MA Psych, pioneered dance movement therapy in India in 1990.

She received a MA in Psychology from Annamalai University, Tamilnadu, India
and studied Movement Therapy at the Hancock Centre for Dance/Movement
Therapy in Wisconsin, USA. On her return she worked as a movement therapist
at half-way homes, special schools, treatment/rehabilitation centres, senior
citizens’ facilities and with individual clients for the next 10 years. Tripura
received fellowships from the Ashoka International Foundation and Indian
Ministry of Culture for her innovations in dance therapy and contemporary
dance. She authored My Body, My Wisdom a book on creative dance therapy and
Contemporary dance: practices, paradigms and practitioners published by Penguin and
Aayu publications. Tripura is the Co-Founder of Creative Movement Therapy
Association of India (CMTAI).

Ana Serrano Navarro, PhD, is associate professor on the Master’s in Art Therapy
and Art Education for Social Inclusion at the Complutense University of
Madrid, Spain, and collaborates as a teaching partner in different trainings in art
therapy. She is an art therapist, artist, art educator and researcher. She developed
her doctoral research at José Germain Children and Youth Hospital, which
continues to focus on trauma and mental health. In 2017–2018, she conducted a
research project for Madrid City Council into the possibilities of art therapy in
a health promotion context, and she collaborates with the research project I+d+i
Aletheia: Art, Art Therapy, Trauma and Emotional Memory. Currently, she
provides art therapy services in private practice, individual and group sessions.

Salvo Pitruzzella is Professor of Arts Education at the Fine Arts Academy of

Palermo, Italy and, since 1998, Dramatherapy course leader at the “Centro
ArtiTerapie,” Lecco, Italy. Salvatore is a pioneer of dramatherapy in Italy.
Starting from a background as an actor, playwright and puppeteer, he has
been working as dramatherapist for over twenty-five years. He has published
widely on dramatherapy, educational theatre, and creativity theories. Salvo is an
international Member of the BADth (British Association of Dramatherapists),
and member of the Editorial Advisory Board of Dramatherapy Journal. Honorary
Member of the SPID (Società Professionale Italiana di Drammaterapia). Salvo is a
member of Executive Board of the EFD (European Federation of Dramatherapy).
He is the Italian Representative with ECArTE (European Consortium for Arts
Therapies Education) and external examiner of the MA Drama and Movement
Therapy at the Royal School of Speech and Drama, London, UK.

Robert Romanyshyn, PhD, is Emeritus Professor in the doctoral programme in

clinical psychology at Pacifica Graduate Institute, USA. A Fellow of the Dallas
Institute of Humanities and Culture, he co-founded in 1972 an interdisciplinary
programme in existential-phenomenological psychology and literature at the
University of Dallas. In 1991, he moved to Pacifica Graduate Institute to create
 Biographies xv

a doctoral programme in clinical psychology. On his retirement in 2015, he was

elected Emeritus Professor in that programme. He is the first non-analyst elected
as an Affiliate Member of The Inter-Regional Society of Jungian Analysts based
upon his scholarly contributions to Jungian psychology. In addition to on-line
webinars, interviews, lectures, workshops and keynote addresses at international
conferences, universities and professional societies in the US, Europe, Australia,
South Africa, Canada and New Zealand, he has published eight books, numerous
articles in psychology, philosophy, education, literary and poetry journals,
written a one act play about Frankenstein, and in 2009, he created a multi-media
DVD entitled Antarctica: Inner journeys in the Outer World.

Celine Schweizer, PhD, is a lecturer, supervisor and researcher at The

Department of Art Therapy, Academy Health at NHL Stenden University of
Applied Sciences, Leeuwarden, The Netherlands, and coordinates, supervises
and teaches at the Professional Founding Programme for art therapists at Master
Arts Therapies of HAN University of Applied Sciences, Nijmegen. She is
an experienced art therapist, member of KenVaK, Research Centre for Arts
Therapies, The Netherlands, and member of Research Group Small n-designs
of NHL Stenden University of Applied Sciences. Celine chairs the research
committee of EFAT ([Link]) and teaches art therapy
papers, masterclasses and workshops all over Europe. She obtained her PhD
about art therapy for children diagnosed with Autism Spectrum Disorders at
Faculty of Social and Behavioural Sciences, Groningen University, Groningen,
The Netherlands.

Maya Vulcan, PhD, is Head of the Dance Movement therapy training

programme at Seminar Ha’Kibuzzim, Tel Aviv, Israel. She is a dance movement
therapist (DMT). Her clinical experience includes therapeutic work with infants
and caregivers, focusing on psychosomatic disorders and medically unexplained
symptoms, and therapeutic work with children with emotional difficulties and
developmental problems such as ASD. Her research focuses on DMT education
and training, DMT with couples, DMT with infants and caregivers, the
experience of therapists working with autism, DMT interventions in autism,
and issues of professional identity in the field of DMT.
This publication follows a series of ten previous books, all inspired by and
emerging from ECArTE’s biennial international conferences.
This is ECArTE’s first such publication with Routledge.

In memory of Professor Wita Szulc

EUROPEAN CONSORTIUM FOR
ARTS THERAPIES EDUCATION
(ECArTE)

The European Consortium for Arts Therapies Education was founded in 1991.
It is a non-profit-making organisation, which was established with the support
of ERASMUS.
ECArTE is a consortium of Universities. Its primary purpose is to represent
and encourage the development of the Arts Therapies and Arts Therapies educa-
tion in Europe; in particular, the courses offering nationally validated and pro-
fessionally recognised training for Arts Therapists. (The Arts Therapies include
art therapy, dance therapy, dramatherapy, play therapy and music therapy).
The Universities of Hertfordshire, Münster, Nijmegen and Paris founded
ECArTE in 1991. Currently it comprises 34 member institutions from 13
European countries.
The Consortium’s work includes:
• Creating stronger European links in the Arts Therapies through the inter-
national exchange of staff and students
• Promoting research into methods of Arts Therapies practice within Europe
• Working towards opportunities for international study and exchange in Arts
Therapies training programmes
• Promoting recognition of qualifications in the Arts Therapies at a European
level
• Supporting the development of appropriate, academically recognised,
nationally validated Higher Education courses for the Arts Therapies
• Publishing academic texts on current practices, philosophies and research in
international Arts Therapies
• Offering opportunities for professional communication and development at
its international conferences
• Working towards mutual collaboration in all aspects of Arts Therapies
development and practice across Europe
xviii European Consortium for Arts Therapies Education (ECArTE)

• Supporting the design, development and validation of new programmes in

all member states
• Communicating with policy and strategic departments to educate and
inform them about the discipline of the Arts Therapies

European Network
ECArTE is working towards establishing mutual recognition and compatibility
in educational and vocational training for Arts Therapists within the European
Community. The criteria for membership to ECArTE is subject to a changing
educational and social landscape. There are complex articulations of qualifica-
tions in different European Countries and ECArTE is keen to remain observant
of these differences and inclusive in its practice.
ACKNOWLEDGEMENTS

We would like to thank the following for their contribution towards this publi-
cation and the Alcala conference.
First of all, Carmen Alcaide Spirito, University of Alcala, for her generosity
of both spirit and place and for hosting much of the conference in the wonder-
ful “Aula de Bellas Artes.” We also extend our thanks to the Vice Rector Dra.
Dna. Maria Jesus Such Devesa, who supported the conference from the outset.
Thanks to the Fundacion General de la Universidad de Alcala for its hospitality
and welcome.
A special thanks to the Vertebradas Artes Escenicas for their opening per-
formance at the Cervantes Theatre: Molinos ¡A mí! (Windmills come to me!).
This group creation was based on an idea of Marta Lage de la Rosa and Laura
Suárez. Thanks to all the actors, musicians and technical support involved in this
production. This theatrical performance brought us closer to Cervantes, and to
Quixote and Sancho Panza at the very beginning of the conference. We extend
our thanks to the Cervantes theatre for collaborating with us for this perfor-
mance, the opening ceremony and the keynote.
We would also like to thank David Gamella Gonzalez, University Center
Cardenal Cisneros, for his work on the conference logo as well as the filming and
photography throughout the conference. Thanks too to Marta Lage de la Rosa
for her filming and photography.
Thanks to all the contributing authors who have worked on the chapters in this
publication and to Matthew Gammage for his impeccable skills in proof reading.
Thanks to Laura Hussey and Swati Hindwan at Routledge for their support in
developing and producing this publication.
Finally, we would like to thank all the delegates of the ECArTE conference
for contributing to such a lively and collegiate happening in Alcala de Henares,
Spain, in the late summer of 2019.
PREFACE

“Imagining Windmills: trust, truth and the unknown in the Arts Therapies”
sets out to reflect the theme of the 15th International Conference of the
European Consortium for Arts Therapies (ECArTE), held in 2019. The loca-
tion of the Conference was the university city of Alcalá de Henares, Spain,
birthplace of Miguel de Cervantes, who is largely regarded as the greatest
writer in the Spanish language. Alcalá de Henares symbolises the presence of
a large part of the multicultural European heritage, from its first Cetiberian
inhabitants, later with one of the most important Roman settlements in the
Iberian Peninsula -Complutum-, the Visigothic settlements or the Arab cul-
ture, which gave it its name, Alkal’a Nahar. With the subsequent Christian
conquest, it became one of the most important places in the Kingdom of
Castile, turning it into a cultural centre of great prestige and where, as in
Toledo, Jews, Muslims and Christians lived together in harmony for almost
400 years.
“Imagining Windmills” alludes to the famous passage in Cervantes’ mas-
terpiece “Don Quixote,” in which the protagonist, on one of his missions as a
knight errant, begins to attack windmills, thinking they are giants. This act, one
of his many misguided adventures, reflects both hubris and an imaginal capacity,
a contrast evident throughout the book and one of psychological significance.
Guided by this literary masterpiece, the Conference theme invited people to
wrestle with ideas of misperception and delusion, truth and trust and the para-
doxical delight and vitality brought about by Quixote’s madness and purpose.
The prospect of actively imagining windmills plays with consensual reality and
provokes questions of the unknown and the imagined. How does the educa-
tion and practice of the arts therapies engage with the imagination as a place of
multiple realities in ways that can lead us closer to finding our truth? Picasso’s
suggestion “art is a lie that helps us realise the truth” points to this capacity in art.
 Preface xxi

The space of art and creation is not a space of certainties or answers. Nor is it
a closed and limited space that can be defined in a few words. On the contrary,
the space of creation has to do with openness, vulnerability, the unknown, the
vacuum. The therapeutic space, in turn, opens up as an invitation to a journey
where these ingredients – the unknown and the uncertain – are present as assid-
uous companions.
Cervantes accompanies us in this process, introducing us to multiple levels of
significance, making us enter into the game of truth which includes questions
of authorship itself. Indeed, who is the author of Don Quixote? Cervantes, Cide
Hamete Benengeli? Or perhaps Pierre Menard? As in Don Quixote, the space of
the story, of storytelling oneself, oscillates between fiction and reconstruction in
a never-ending narrative, which can be told in many different ways. As in Don
Quixote, the subjects of creation move between the search for truth, trust and
the unknown, trying to find a place of goodness, where and how to do the right
thing, not knowing even what the right thing is. In a world in which the media
increasingly manipulates and digitalises the image, how can the arts therapies
offer the opportunity for the imagination and story to emerge spontaneously
through the art forms of dance, drama, art and music in meaningful ways? How
do arts therapies education and practice help reclaim storytelling and engage
with the imaginal, building towards practices of trust and discourses of truth?
So, in the fields of art and medicine, art and psychology, the arts therapies,
how do we conceive of truth? Are there multiple truths, in a postmodern bri-
colage of social construction, or an essential truth and experience of Self which
transcends these concerns? And how do we consider trust? How is it transmitted,
cultivated, broken? And how do trust and truth relate to the as yet unformed, the
unconscious, the unknown?
It is of note that Cervantes wrote Don Quixote whilst in prison. His master-
piece was not conceived through looking out upon beautiful vistas, but kindled
from the interior of his own being. He then turns outward to face afresh his
world with all the subtelty and intricacy of a storyteller capturing the essentials
of the human soul, with its capacity for adventure, inflation, idealism and pur-
pose. And all shot through with acerbic wit, satire and mockery. The aim of
arts therapies is, in a way, to find lightness, balance, just as Don Quixote must
undertake a journey to find the calm his soul needs. On the way, as in the artistic
and therapeutic process, the windmills rise up like giants, confusing us, trapping
us and at the same time abandoning us. The arid Castilian plateau is a landscape
where the horizon we long for is always far away. This is the setting of this work,
its guiding thread, its backdrop.
Coronavirus, on the other hand, has presented itself as an unavoidable guest,
which could not go unnoticed in this process. Somehow, the words that run
through this book have been written, rewritten or corrected in partial or total
confinement – as with Cervantes when writing Don Quixote. There is an
attentive eye on the number of people occupying the world’s Intensive Care
Units, with the awareness of a body that had felt unnoticed until 2020. The
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