Evaluating the Effect of Different Creative Art Therapies on the Self-Efficacy of Adolescents in Terms of Interpersonal Skills. Below are 3 article. summarize them and elicit the most studies in the articles that show the effect of Creative Art such us (drama and dancing) on self efficiency and social skill on adolescent. 1 Knocking on Shakespeare’s Door: Drama with Teens for Personal and Social Development A Qualitative Research Study by Tom Pilutik, MA 2010 “...no form of human communication has such concentrated power to move the heart and stir the mind as the drama.” - Alan Reynolds Thompson, The Anatomy of Drama (1942) Adolescence is a life-altering stage of development for a young person. It is a time of exploration, discovery and expansion of one’s world. However, this significant period can be impeded by external factors including environmental issues, peer pressures and internal conflicts. In this paper, the author uses a case-study approach to suggest that drama is a powerful tool in assisting the youth’s growth and development. Through observation, interviews and focus groups over a five-month period, the participating youth in Big Brothers Big Sisters’ Broadway Bound Fund drama program were evaluated. To expand on the findings, this assessment applies qualitative methods, including theories of drama and drama therapy as well as theories of personal and social development. Testimony from the students further reinforces the outcome of their collective experience in the program. This study argues that drama is germane for the adolescent’s personal and social development in that it can help the adolescent gain a sense of self-confidence, take on leadership roles with poise, increase capacity for empathy and gain comfort with their bodies. This qualitative analysis shows that drama can enhance the student’s ability to collaborate with others while also gaining further insight into oneself. And finally, it is suggested that drama can bridge gaps between adult authority and the rebellious teen by redefining the exchange among teacher and student. 2 Rationale Initially, I was not shocked by what I saw. The techniques were all very familiar. Exercises from classical and contemporary drama theorists such as Linklater (1976), Johnstone (1979), Spolin (1963) and Bogart & Landau (2005) were all represented honorably. These reputable methods and techniques of vocalization, physicalization (Spolin, 1963) and “presence” in the moment are studied and practiced by serious actors. What did stand out to me were the students in the class. The large group comprised of approximately 25 teenagers and pre-teens, male and female, ranging in age from 11 to 17, coming from different cultural and ethnic backgrounds, were all very invested in the class and the teacher. It was obvious that there was more going on in this workshop than just lectures and rehearsals. My role was to be a fly on the wall as much as possible: to participate with focus and respect for the work without ever being the focal point or distraction. I was there to observe the students without tampering with the environment. Being a new presence and being the only male adult in the room made this a challenge. Playing the role of the good student, I purposely averted direct eye contact with any of the students and kept my gaze locked on the teacher, Mary Rose Synek, following her guidance. At a steady pace, we glided through each exercise with purpose. Each skill complemented the former as we continued to move forward, warming up our minds and bodies for the eventual “real work.” As we completed each exercise (warming up our voices, sound-and-movement games, and improvisation skills), I was struck by how much this impacted, and dare I say, attacked, the very notion of body image and self-image that I so cautiously attempted to protect the students from upon my arrival. The next exercise we embarked on was a mirroring exercise, which required us to pair off. Certain that I was to sit this one out, I moved to the side of the room so as to be out of the way. The ratio of girls to boys on this particular day was approximately 5 to 1, and the last thing I expected was to be paired with a female. I was incorrect in my assumption! Not only was I participating in the exercise at Mary Rose’s authoritative behest, but I was paired with a young woman. As I was immediately thrown back to the awkwardness of my teenage years in the span of a second, the discomfort in my own body took over. The girl and I stood about six or eight inches apart from one another, eyes locked. The smiles and giggles immediately assumed control, and we had yet to begin the exercise. Once we began, I had the lead. With each gesture I made, my fellow student was meant to follow along with her own movement. We were, in fact, “mirroring” each other as if we were each other’s reflection. Our tasks were to leave judgment and preconceived ideas behind and find presence in the moment. My gestures began to speed up, and my partner kept up confidently. I found comfort in making jokes with my movements; opening fictitious cupboards, miming opening a jar of peanut butter and spreading it on an imaginary slice of bread until I heard the firm reminder of our guide, Mary Rose: “Don’t try to make each other laugh! This isn’t a competition!” Was she referring to me? Feeling robbed of my good student role, I surveyed the room. The dedication Toward Secure Attachment in Adolescent Relational Development: Advancements From Sandplay and Expressive Play-Based Interventions Eric J. Green University of North Texas at Dallas Amie C. Myrick Family and Children’s Services of Central Maryland, Baltimore, Maryland David A. Crenshaw Children’s Home of Poughkeepsie, Poughkeepsie, New York Recently, the literature on parent-adolescent attachment relationships has dem- onstrated associations between secure, positive attachment and (a) lower mental health difficulties ( Van Doorn, Branje, & Meeus, 2011 ), (b) meaningful relation- ships ( McGee, Williams, Howden-Chapman, Martin, & Kawachi, 2006 ), and (c) increased career success ( Shelton & van den Bree, 2010 ). In contrast, those adolescents who fail to form meaningful attachments with caregivers appear to struggle in these areas. As new relationships develop and alter or dissipate over time, adolescents may experience variations and fluctuations in their mental well-being ( Berger, Jodl, Allen, McElhaney, & Kuperminc, 2005 ). This article provides a comprehensive literature review of the most current research in adolescent attachment, as well as clinical implications for play therapists who recognize the significance of the therapeutic dyad when working with adolescents. Additionally, the article discusses case studies involving the integration of expres- sive art therapy interventions, such as sandplay ( Donald, 2003 ; Green 2012 ), to strengthen the adolescent’s overall schema of attachment to ‘secure.’ Keywords: attachment, adolescents, sandplay Attachment has been conceptualized traditionally as a pattern of thoughts, feelings, and behaviors that results from a caregiver’s ability to meet an infant’s need for closeness ( Black, Grenard, Sussman, & Rohrbach, 2010 ; Briggs, 2003 ). Master’s-level clinicians typically learn this basic attachment concept while covering infancy and early childhood chapters in their life-span development course. However, the discussion is less frequently carried over into adolescence. Eric J. Green, PhD, LPC-S, RPT-S, Department of Counseling & Human Services, University of North Texas at Dallas; Amie C. Myrick, MS, LCPC, Family and Children’s Services of Central Maryland, Baltimore, Maryland; David A. Crenshaw, PhD, ABPP, RPT-S, Children’s Home of Pough- keepsie, Poughkeepsie, New York. Correspondence concerning this article should be addressed to Eric J. Green, University of North Texas at Dallas, 7300 University Hills Boulevard, Dallas, TX 75241. E-mail: [email protected] 90 International Journal of Play Therapy © 2013 Association for Play Therapy 2013, Vol. 22, No. 2, 90 –102 1555-6824/13/$12.00 DOI: 10.1037/a0032323 Thus, it is likely that many play therapists lack a comprehensive understanding of how attachment relationships change during adolescence and often adversely affect psychosocial functioning ( Vera & Shin, 2006 ). Therefore, the objectives of this article are (a) to describe attachment issues in parent adolescent relationships; (b) to describe the salient aspects of adolescent attachment for play therapists to consider when formulating comprehensive treatment plans; and (c) to illuminate how the play therapy relationship and the infusion of play-based interventions, such as sandplay, may strengthen opportunities for adolescents to develop secure attachments ( Donald, 2003 ). The Association for Play Therapy (2012) has defined play therapy as “the systematic use of a theoretical model to establish an interpersonal process wherein trained play therapists use the therapeutic powers of play to help clients prevent or resolve psychosocial difficulties and achieve optimal growth and development.” PSYCHOSOCIAL DETERMINANTS AND EFFECTS OF DIVERGENT ATTACHMENTS IN ADOLESCENTS Attachment is a dynamic pattern of cognitions, affect, and associated be- haviors that result from a caregivers’ ability to meet infants’ need for warmth, nurturance, and safe physical closeness ( Berger, Jodl, Allen, McElhaney, & Kuperminc, 2005 ). Early in life, children develop an internal working model through their relationships with caregivers. This model incorporates the beliefs that either (a) one is worthy of love and that the world is a predictable and positive place (i.e., secure attachment), or (b) one is unlovable and exists in a world that is unpredictable and untrustworthy (i.e., insecure attachment; Bowlby, 1982 ). Secure and insecure attachments encompass three ideas related to the notion that parents are able to tolerate or not tolerate, or contain, their child’s intense emotional experiences until children manage the experiences themselves ( Black et al., 2010 ; Briggs, 2003 ). Disorganized attachment ( Main & Solomon, 1990 ) is characterized by a child who exhibits patterns of (a) clear avoidance (or resistance) in the first reunion and then a change to clear resistance (or avoidance) in the second reunion with a caretaker(s); or (b) evidence of sequential, contradictory behavior across separation and reunion episodes. This style of broken attachment typically stems from a child experi- encing consistent frightening and comforting messages simultaneously from the caretaker(s), usually resulting from trauma ( Green, Crenshaw, & Kolos, 2010 ). Although they tend to move toward confiding in peers as they move through puberty, many teenagers consider their parents primary supports and confidants ( Nomaguchi, 2008 ). Some adolescents continue to rely on their parents throughout development; feeling secure in the parent teen relationship allows them to em- brace their curiosity about the world ( Duchesne & Larose, 2007 ). Adolescents who fear that their parents will not consistently provide a secure base are more likely to fear exploration, uncertainty, and/or vulnerability ( Perl, 2008 ). Sport Science Review, vol. XX, No. 5-6, December 2011 105 The Social-Psychological Outcomes of Dance Practice: A Review Alexandros MALKOGEORGOS * • Eleni ZAGGELIDOU * Evagelos MANOLOPOULOS * • George ZAGGELIDIS * D ance involvement among the youth has been described in many terms. Studies regarding the effects of dance practice on youth show different images. Most refer that dance enhanced personal and social opportunities, increased levels of socialization and characteristic behavior among its participants. Socialization in dance differs according to dance forms, and a person might become socialized into them not only in childhood and adolescence but also well into adulthood and mature age. The aim of the present review is to provide an overview of the major findings of studies concerning the social-psychological outcomes of dance practice. This review revealed that a considerable amount of researches has been conducted over the years, revealed positive social- psychological outcomes of dance practice, in a general population, as well as specifically for adults or for adolescents. According to dance form the typical personality profile of dancers, danc - ers being introverted, relatively high on emotionality, strongly achievement motivated and exhibiting less favorable self attitudes. It is proposed that a better understanding of the true nature of the social-psychological outcomes of dance practice can be provided if specific influential factors are taken into account in future research (i.e., participants’ characteristics, type of guidance, social context and structural qualities of the dance). Keywords : dance, youth, personality traits, socialization Introduction Dance can be performed at home or at a park, without any equipment, alone or in a group, is a choreographed routine of movements usually performed to music. Dance involvement in general can be described in diverse terms (ballet, * Department of Physical Education and Sport Sciences, Aristotle University of Thessaloniki, Greece DOI:10.2478/v10237-011-0067-y Unauthenticated Download Date | 10/12/15 10:15 AM The socio-psychological outcomes of dance practice 106 modern dance, jazz, musical, ethnic etc.). There is a variety of music, which dictates the type of dance to be performed. Dance to the music of jazz, salsa, hip-hop, ballet, tango, square dance, line dance, belly dancing to name a few. Commonly held perceptions on the value of involvement in dance are mixed. As indicated by some, these common beliefs with regard to dance are often largely based on perceptions obtained through the media and entertainment industry. It has been pointed out that popular media have created a pleasant image of dance for (commercial) entertainment purposes. These popularized notions of dance serve a culture obsessed with glamour (Hagood, 2000). The duality in the perception regarding the effects of dance is perhaps even more apparent when it involves youth. On the one side, dance involvement is believed to provide positive learning opportunities for youth in general, as well as with regard to specific target groups. In addition, working with the understanding that is developed through movement can assist not only the artistic development but also the cognitive and emotional development of the child (Briskin, 1981). In the majority of countries, dances are introduced during physical education classes in secondary schools, because it is believed that dance involvement can provide positive educational opportunities to pupils. In dance education the analysis of children’s movement has become recognized as one means through which children can be understood and helped educationally and, if necessary, therapeutically (North, 1989). Behavioral problems are a major difficulty that classroom teachers face, and the possibilities of support in this area from the art form means that dance moves from being a “frill” in the curriculum to being a necessity. Also, specific initiatives have been set up in several countries in which educators make use of dance in their work with socially deprived youth. Allison’s (1997) study provided an example of what meant by using the body to process ideas and create meaning. In her case study of an inner-city classroom that used dance to construct intertextual literacy knowledge, she found students liked to use their kinesthetic abilities as a learning resource for their academic pursuits. Dance helped students explore the reciprocity between thoughts and actions. It also enabled students to draw connections between semiotic and linguistic texts such as books. They learned to see dance as a mental tool for constructing knowledge. Studies have demonstrated that dance has physiological and psychological benefits (Hopkins, Murrah, Hoeger, & Rhodes 1990). Adiputra, Alex, Sutjana, Tirtayasa, and Manuaba (1996), found that dancing lowered the resting heart rate and blood pressure and increased the maximum aerobic capacity in young male ballet dancers. Many dance forms provide a total body workout, which tones the body and provides aerobic benefits, unlike working just the lower body when Unauthenticated
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Western Beer Read the linked article and answer the five questions that follow. Big Volumes Don't Mean Big Profits in China's Beer Market Click here to view the full article on WSJ.com SUMMARY: This article focuses primarily on industry analysis. It concerns China's beer market, where despite big volumes, intense competition among large brewers keeps a tight lid on margins. In the US, AB InBev and SAB MillerCoors hold more than 70% of the market by volume, with margins of 38% and 18% in 2014. In China, the same 70% market share is split among five robust competitors whose EBIT margins range between 6% and 9%. Now, after decades of robust growth, beer volumes in China are slumping and turning a profit is posed to get even tougher. QUESTIONS: 1. On the surface, why does the Chinese market for beer seem attractive? In fact, why is the Chinese market an irresistible one for major Western beer producers to enter? 2. In reality, why is the "structure" of the Chinese beer market not so favorable? In terms of Porter's Five Forces, why is the Chinese beer industry not necessarily that attractive? And why might this market actually become less attractive in the near future? 3. Reflecting on the previous question, do you think the Chinese beer industry will actually remain rather unattractive for a long time? Or do you think the market will consolidate one day? 4. How is SAB dealing with the problem? Which strategy is it using to raise margins in the Chinese market? How has AB InBev utilized this strategy? 5. According to the article, why is SAB's strategy being criticized? What is SAB doing differently from InBev, for example? Do you think SAB is on the right track in the long run, or does it need to introduce more of its own Western brands into China?
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