Continuing Education (CE) - Certificate Program in Social Emotional Arts

Continuing Education (CE) - Certificate Program in Social Emotional ArtsThis course meets qualifications for 40 hours of continuing education (CE) credit for psychologists, LCSWs, MFTs, LEPs, and LPCCs. CEs can be requested during the registration process for an additional $115. Arts & Healing Initiative is approved by the California Psychological Association (CPA), and maintains responsibility for this program and its content. IMPORTANT NOTICE: Those who attend this program in full and complete the appropriate evaluation

This course meets qualifications for 40 hours of continuing education (CE) credit for psychologists, LCSWs, MFTs, LEPs, and LPCCs. CEs can be requested during the registration process for an additional $115.

Arts & Healing Initiative is approved by the California Psychological Association (CPA), and maintains responsibility for this program and its content.

IMPORTANT NOTICE: Those who attend this program in full and complete the appropriate evaluation form will receive CE credits. Please note that credit will only be granted to those who attend the entire program. Those arriving more than 15 minutes after the start time or leaving before the program is completed will not receive CE credit.

Learning Objectives for Continuing Education:

DAY 1

1. State two ways to enhance the safety of a group experience.

2. Explain two ways in which the arts are effective for healing trauma.

3. Explain how social emotional arts can build a growth mindset and why this is important for learning.

4. Describe two techniques for reducing stress when standing in front of an audience.

5. Give two examples of how a simple body adjustment can change the emotional response of a viewer.

6. Give one example of a nonjudgmental statement to respond to behavior.

7. State two ways that breath can be helpful for communication.

DAY 2

1. Explain two ways that rhythmic activities can be useful in healing trauma.

2. Describe two nonverbal ways using rhythm to facilitate empathy and connection among diverse participants in culture and/or ability.

3. Name two strategies that can be used to facilitate participation amongst children who are shy or reluctant to share verbally or play the drum.

4. Describe two ways that rhythmic activities can be used to facilitate reflection and self-disclosure in community groups.

5. Give one major reason why needs assessment is important before designing a program.

6. Name two different sources of information for needs assessment.

7. State one reason why it is important to align goals, activities, and evaluation measures.

DAY 3

1. Cite two examples of creative attention getters.

2. Cite two ways to ground group energy.

3. Cite two ways to raise group energy.

4. State  two underlying needs that might manifest as a behavioral issue.

5. State two examples of calming strategies for overstimulation.

6. List three movement patterns that may indicate trauma.

7. Describe two exercises involving breath, sound or movement to unwind stress.

 DAY 4

1. Give one reason why creating a music playlist may be useful in daily life.

2. List two elements associated with music that facilitates relaxation.

3. State two elements of music that can elicit emotional stress responses.

4. Describe one way that music can enhance expression in another art form.

5. Describe two techniques in writing or poetry that can be used to encourage expression of feelings and connection to others.

6. Explain two ways to enhance cultural competence through writing or poetry.

7. State one example of a reflection question to affirm a group member who has shared their piece.

 DAY 5

1. Identify two ways to talk non-judgmentally about art, in order to encourage engagement and dialogue.

2. State two ways that Visual Thinking Strategies can facilitate observation or communication skills.

3. Describe one way for group participants to share their art interactively.

4. State two kinds of art materials might be most appropriate for participants who are experiencing trauma-related stress.

5. State one way to encourage greater art expression from someone who is inhibited.

6. Give one example of how to respond to someone who is having a hard time engaging in an art activity.

7. Give one example of a statement that can reinforce underlying social or emotional behavior goals during a group art activity.

 DAY 6

1. State the one basic rule of improvisation and how it applies to social emotional arts.

2. Describe one way to support and engage a participant who is unwilling to toss an imaginary ball and vocalize along with it.

3. State one playful way to encourage verbal participation from group participants.

4. Explain two ways that improvised activities involving story structure and conflict can facilitate development of problem-solving or decision-making skills.

5. Describe two ways that improvisational theater work strengthens emotional skills.

6. Describe two ways that improvisational theater work strengthens social skills.

7. State one way to adapt a particular improvisational activity for younger or older groups.

DAY 7

1. State one way to encourage movement with someone unaccustomed to moving.

2. Give one example of how a movement activity can be used as a metaphor to reflect upon life.

3. Give one example of a nonjudgmental statement that describes observed movement, without assuming feelings or intentions.

4. Drawing upon information from the Laban Movement Analysis technique, list three different patterns or qualities of movement that can be observed.

5. State one example of how you might work with someone whose movement patterns are constrained.

6. State one example of a group movement activity that can build both connection and self-management / impulse control skills.

7. Describe one way to use movement with children as a brief transition from a lively warm-up activity to a quieter main activity.

 DAY 8

1. State one way to manage someone who is exhibiting disruptive behavior during a group activity.

2. State one way to engage someone who is shy or reluctant to participate.

3. Give one example of a statement that reinforces a social, emotional, or cognitive learning objective.

4. Give one example of how an activity can be designed or adapted to accommodate cultural considerations.

5. Give one example of how an activity can be designed or adapted to accommodate developmental considerations.

6. Give two examples of Likert scale evaluation questions: one for children and one for adolescents or adults.

7. Give two examples of open-ended evaluation questions: one for children and one for adolescents or adults.