Registration is closed for Summer by midnight July 13. Please contact firstname.lastname@example.org for questions about future enrollment.
The Certificate Program in Social Emotional Arts (SEA) empowers educators, community arts professionals, mental health practitioners, and others interested in maximizing social-emotional benefits of arts experiences, which includes minimizing self-judgment and anxiety that can impede learning.
Training is interactive and experiential. It features the use of sound, rhythm, movement, and other creative approaches in group behavior management, verbal and nonverbal communication, managing special needs and integration with typical students, managing traumatic responses and self-care, strengthening personal presentation skills, and evaluating program outcomes. SEA also offers best social-emotional practices in the multiple disciplines of art, dance/movement, drumming, music, poetry/writing, and theater because of their symbiotic benefits.
The Certificate Program not only teaches structured and scripted activities that can be used in the community, but also teaches trainees how to develop and deliver their own effective curricula for youth and other populations. It is practically designed to address challenges often encountered by those serving in the front lines of need.
Trainees that attend all sessions and complete all course requirements satisfactorily will obtain a Certificate in Social Emotional Arts from UCLArts & Healing, which is an organizational member of the UCLA Collaborative Centers for Integrative Medicine. Certificate holders that demonstrate solid mastery of SEA training practices may be recommended for future teaching opportunities in the community.
Through nine Saturday training sessions, SEA trainees learn to develop and deliver process-oriented arts experiences in school and community settings to improve emotional well-being, the social climate and the learning environment.
Educators and community arts professionals are often not sure what to do or say when the inevitable “stuff comes up,” like when a student comes crying after seeing a performance and says: that happened to me. They may also encounter unintended consequences of arts experiences, such as self-judgment, anxiety, and inadvertent re-triggering of trauma.
Mental health professionals may find limitations to traditional talk therapy. Clients may be unable or unwilling to disclose what is bothering them. The arts offer nonverbal pathways to self-expression that transcend barriers to talk therapy, such as cultural prohibitions against self-disclosure and inhibition of speech processing ability as a result of traumatic stress.
Focus on the process of creative expression without expecting perfection or mastery reduces self-judgment and anxiety that can impede learning, creativity, and self-expression. Moreover, creative expression is an extension of self, a reflection of what is going on within. As a metaphor for life, it offers an opportunity for deeper reflection and dialogue, which enhances meaning, self-awareness, empathy, and connection to others.
Without performance anxiety, both students and adults are more apt to take positive risks and think on their feet, generating creative solutions and expressing themselves with confidence.
Arts programs, that can be shown to improve social-emotional learning and are evaluated in ways meaningful to stakeholders, are more likely to be adopted by schools and other organizations. The National Education Association advocates the use of the arts as a "hook" for getting students interested in school.
Nine Sessions: Thursday July 19 through Sunday July 29. With breaks on July 22 and 26.
9:00 am to 5:30 pm
$2,450Add CEs for this program.
Jessica Bianchi, EdD, ATR
Carolyn Braddock, MA
Kathy Cass, MA, BC-DMT, NCC, C-IAYT, AHC
Erica Curtis, LMFT, ATR-BC
Helen G. Dolas, MS, MT-BC
Ping Ho, MA, MPH
Karen Howard RMT, CEAP
Gabrielle Kaufman, MA, LPCC, BC-DMT, NCC
Jennie Linthorst, MA, CAPF
Stephanie Nash, MFA
Myriam Savage, PhD, RDT- BCT
location:Unity of the Westside
10724 Barman Ave
Culver City, CA 90230Note: July 29th (Final Day): West L.A. location TBD
“This work is healing, powerful and is integral with working with many populations. So many social-emotional and cognitive skills are strengthened through this work AND it’s fun!” —SEA Trainee
“Schools and teachers NEED to be able to offer these tools and strategies to their students. All teachers would benefit from this training. Personally, I feel as though I have been cracked wide open and there is so much more inside me that can emerge.” —SEA Trainee
“I’ve learned SO much from the classes—from the coursework, the instructors, AND the participants! The experience has helped me enormously as an educator and as a person.” — Kate Pomatti, Art Teacher at Lincoln Middle School in the Santa Monica-Malibu Unified School District
“I’ve learned so much about myself, my confidence has gotten stronger and it was a wonderful bond and support that we as a cohort created for each other. I am so grateful! Honored! Thank you!”—SEA Trainee
“When I first came across the SEA Program, I felt like I had stumbled upon a gold mine! This program has far exceeded my expectations. What a rewarding experience it has been to join with like-minded peers and to learn from leaders in the fields of arts and healing. Not only have I gained skills to apply in my professional life, but I’ve also experienced growth and healing on a deeper personal level. I urge you to sign up for his priceless program! You will be so grateful you did!” —SEA Trainee
“Get ready to go on the journey of your lifetime. The experience was very eye opening and heart healing. This program pushed me beyond my comfort zone. It made me aware of my own limitations and it gave me the empowerment to challenge them. This is a great program with so many benefits. Enjoy the ride!” —SEA Trainee
“An awesome, life-changing program! It was eye opening, and has put arts therapy into a whole new perspective for me. There is no doubt that the knowledge I have gained while at SEA will have a profound impact on the way I facilitate moving forward. This is a program that every educator and therapist should have the opportunity to participate in. Thank you again from the bottom of my heart for making my time at SEA an experience that I will never forget!” —Debbie Kazel Sipos, Music Teacher and Music Therapy Student
“I’m not exaggerating when I say that the SEA program changed my life. You’ll grow as a person, and can bring what you learn to any population that you might serve. I highly recommend it.”— Deborah Scott Studebaker, Writer and Writing Teacher
“I am so grateful for the SEA program. I fully using everything we learned. SEA opened so many doors for us. Without it I'm sure we would not have been as effective to get our foot in the door.” — Tiffani Sierra, Founder & CIO, Improv It Up LLC
Click here to read the complete list of testimonials for the SEA Certificate Program.
Jessica Bianchi, EdD, ATR is an art therapist who completed her doctoral work at Loyola Marymount University, studying Educational Leadership and Social Justice. A master’s graduate in Marital and Family Therapy/Art Therapy from Loyola Marymount University (LMU), Jessica has served as art therapist at Aviva Family and Children’s Services working with emotionally disturbed teens. Jessica is also part-time faculty at LMU teaching on the importance of providing visual arts in all classrooms for holistic learning, and also co-teaches a class focused on art therapy with children in LMU’s graduate Marital and Family Therapy/Art Therapy Department. Jessica teaches a class for the Visual and Performing Arts Education Program within the UCLA School of the Arts and Architecture that is focused on creating empathetic communities by way of creative expression with defended youth. In addition, Jessica directs an annual weeklong summer arts camp in collaboration with LMU’s Marital and Family Therapy/Art Therapy Department at Dolores Mission Middle School in East Los Angeles.
Carolyn Braddock, MA is a nationally and internationally known consultant, educator, trainer, and group facilitator who specializes in innovative mind/body approaches to managing stress and patterns resulting from traumatic events. Many of these methods are based in The Braddock Body Process® — a body-centered approach based in Tai Ji and Qi Gong movement and philosophy, whereby individuals learn to identify and respond to signals of stress and manifestations of trauma in their distinctive patterns of breath, movement and sound. Carolyn received intensive training in family therapy at the Colorado Institute for Marriage and Family Therapy and studied extensively with renowned pioneer psychiatrist Carl Whitaker in the field of family therapy. She founded the Institute on Child Abuse and Neglect in l981 through the Graduate School of Social Work at the University of Denver and The Professional Psychology Department at the University of Northern Colorado. In addition, Carolyn works with individuals, couples, families, groups, and businesses in areas such as team development, communication, management skills, addictions, and post-traumatic stress disorder. Carolyn serves as mentor/trainer to graduate students and psychotherapists; consultant/trainer at the Chi Chi Rodriquez Youth Foundation (an organization for at risk youth in Florida); guest lecturer at California State University Northridge and at the University of Denver; and featured presenter for organizations, conferences and national/international symposia. She authored Body Voices: Using the Power of Breath, Sound, and Movement to Heal and Create New Boundaries, and chapters in other books and publications.
Kathy Cass MA, BC-DMT, NCC, CYT, E-RYT, 500 is a board certified dance/movement therapist, nationally certified counselor, and a certified yoga therapist with over 25 years of instructional and clinical experience with a variety of populations. She has expertise as a long standing director of a non-profit therapeutic dance/yoga organization called Chance to Dance, serving persons of all ages and abilities, and as a movement/yoga consultant for numerous institutions and individuals. This organization continues under the direction of Kathy's protégé, under the new name Dance for All. Kathy served three years, one, as head of the national BC-DMT panel of the Dance/Movement Therapy Certification Board. She has been a guest lecturer at Scripps College, Center for Movement Education and Research at Loyola Marymount University, UCLA and Los Angeles Chapter of the California Association of Marriage and Family Therapists. Kathy is currently a part-time faculty member at Santa Monica College Emeritus Division, El Camino Community College and Center for Movement Education and Research. She has been an Advisory Board Member for California State University, Fullerton, Extended Education in Expressive Arts Therapies. She also maintains a private Yoga Therapy /Ayurveda Life Skills practice in Santa Monica, CA. On the side, she has worked as a consultant for Pacific Resident Theater, Salty Shakespeare Company, and various actors around town, doing choreography, musical staging, and character movement.
Erica Curtis, LMFT, ATR-BC is a Board Certified Art Therapist and Licensed Marriage and Family Therapist. Erica has over 15 years of experience and education in integrative approached to health and well-being. Formerly an instructor in the Loyola Marymount University Department of Marriage and Family Therapy with a specialization in art therapy, she now serves as their admissions consultant and maintains a therapy practice in San Juan Capistrano. Erica has served multiple terms on the board of directors of the American Art Therapy Association, is a past president of the Southern California Art Therapy Association, and was formerly clinical director at the Help Group, a widely respected Los Angeles non-profit agency. She lectures widely for institutions and organizations including UCSD, USC, UCLA, SOKA and Kaiser Permanente. In addition, she serves as a mental health and relationship expert for articles, appearing in more than 50 media outlets including: USA Today, Boston Globe, EHow Family, PBS, and Women’s World Magazine, to name a few. Erica serves as an expert for her profession's governing board, consulting on standard of care in disciplinary cases brought against therapists. She also supervises art therapy interns. Erica is the author of The Innovative Parent: Using Art to Raise Happy, Connected, & Successful Kids, coming soon.
Helen G. Dolas, MS, MT-BC has a BA in Music Therapy and an MS in Special Education from California State University, Long Beach. In 1982, Ms. Dolas founded Arts & Services for Disabled, Inc., a nonprofit organization that has provided quality creative arts education and therapy, driven by a “Love before Learning” philosophy, to over 4,000 individuals with disabilities. In this capacity, she supervises and trains approximately 65 employees and 600 community volunteers. As one of the largest employers of music therapists in the region, Ms. Dolas has been the Clinical Training Director of her American Music Therapy Association (AMTA)-approved music therapy internship program since 1984. As an adjunct professor at Chapman University, she has established several new music therapy clinical training sites: at a private school for youth with autism, at a center that serves traumatized at-risk youth, and at UC Irvine Medical Center's Chao Family Comprehensive Cancer Center. Ms. Dolas is currently partnering with two other music therapists to establish the International Foundation for the Healing Arts to promote the development of music therapy services. In 2008 and 2009, Ms. Dolas was invited by Her Highness Sheikah Mozah of Doha Qatar in the Middle East as one of 15 US delegates to participate in the Third Annual International Forum of Children with Special Needs. Ms. Dolas has received numerous awards including a National Model Program Award at the US Senate from the National Coalition of Creative Art Therapies (2002), the Betty Isern Howrey Award - the highest award in the Western Region AMTA (2006), and the National Professional Practice Award from the AMTA (2007).
Ping Ho, MA, MPH is Founding Director of UCLArts and Healing, which transforms lives through creative expression for self-discovery, connection and empowerment (uclartsandhealing.org). UCLArts and Healing is an organizational member of the UCLA Collaborative Centers for Integrative Medicine, of which Ping is a Steering Committee Member and was the founding administrator. She was also the founding administrator for the UCLA Cousins Center for Psychoneuroimmunology (PNI), which led to the privilege of writing for Norman Cousins and co-writing the professional autobiography of George F. Solomon, M.D., founder of the field of PNI. In addition, Ping has an extensive background as a health educator and performing artist. She has a BA in psychology with honors from Stanford University ? where she was appointed to spearhead the still-thriving Health Improvement Program for faculty and staff, an MA in counseling psychology with specialization in exercise physiology from the University of California, Santa Barbara, and an MPH in Community Health Sciences from UCLA School of Public Health. Ping serves on the Council of Advisers for the Academic Consortium for Complementary and Alternative Health Care, a national network of educational organizations and agencies in complementary and alternative medicine, and the Leadership Council for the Academy of Integrative Health and Medicine. She has also served on the professional learning subcommittee for CREATE CA, a California Arts Council collaborative to educate school administrators regarding the value of the arts for learning and behavior, what constitutes quality arts education, and models for successful implementation and outcomes. Ping is a co-developer of the program, Beat the Odds: Social and Emotional Skill Building Delivered in a Framework of Drumming, which has been successfully delivered in school and community settings across the country and overseas, and was principal investigator of the study (published in a top integrative medicine journal, Evidence-Based Complementary and Alternative Medicine) upon which the program is based.
Karen Howard, RMT, CEAP is a registered music therapist and founder of Music & Expressive Therapy Associates (META), which uses expressive and creative arts to strengthen life skills and functioning for individuals in the special needs community, teaches mindfulness and enables a heart-centered approach for experiencing the fullness of life, promotes insight and awareness for decisions and choices, and enhances the potential for joy and a sense of community. She works with a wide range of populations, including individuals with special needs (particularly autism), individuals facing the challenges of addiction, women, and individuals seeking personal growth opportunities. Ms. Howard was part of the Emmy award-winning HBO documentary "AUTISM: The Musical” which featured her song Everyday Miracles, and has collaborated on over 20 original musicals for children and teens on the autism spectrum. Ms. Howard has facilitated performances with The Miracle Project in Los Angeles, at the United Nations, with Autism Speaks, HollyRod Foundation, HBO, and Autism On The Seas. In 2011, Ms. Howard traveled with The Miracle Project to India as a co-facilitator for training of parents, educators, and therapists for individuals with autism. Ms. Howard has degrees in Music Therapy, Piano Performance, Psychology, and a Teaching Credential. She is certified as an Autism Movement Therapy provider and has an advanced certification as an Expressive Arts Practitioner. Most recently, Ms. Howard has joined the team of facilitators with UCLArts and Healing who provide training through the acclaimed Social Emotional Arts program. She has been a Registered Music Therapist for 30+ years. She has been a private piano instructor for over 30 years, a vocal coach for the past 10 years, and is on the Board of Directors for Spectrum Laboratory, a nonprofit organization that assists teens and young adults in learning vocational/professional skills while creating music videos, CDs, film, and acting vignettes with the help and collaboration of professionals in the field.
Gabrielle Kaufman, MA, LPCC, BC-DMT, NCC is a board-certified dance/movement therapist and counselor with over 20 years experience in the helping profession. Currently, she is director of Training and Technical Assistance for the Los Angeles County Perinatal Mental Health Task Force. Prior to this, she served as director of the New Moms Connect Program of Jewish Family Service of Los Angeles providing services to new parents, particularly those suffering from symptoms of postpartum depression. Gabrielle has worked extensively with new families and aided in providing solutions to many parenting concerns. She has run several programs for high-risk children and teens, taught classes to parents of newborns and toddlers, and runs support groups for single parents and women with postpartum depression. Gabrielle has spoken widely, published articles on parenting, and served as editor for Bringing Light To Motherhood. She serves as Los Angeles coordinator for Postpartum Support International also has a private practice in Los Angeles providing services in both English and Spanish languages.
Jennie Linthorst, MA, CAPF is a poet, expressive writing teacher, and founder of LifeSPEAKS Poetry Therapy. Jennie has been teaching a unique poetry workshop in all 3rd grade classrooms for the Manhattan Beach Unified School District using a variety of “voice energies” to inspire poetic writing, while fostering social and emotional growth. Jennie has taught expressive writing workshops at UC Irvine Extension, the University of Santa Monica, the National Association for Poetry Therapy, and other organizations. For the past 14 years, Jennie has facilitated ongoing adult writing groups, and original curriculum for private clients exploring their life stories through reading and writing poetry. After graduating cum laude from Skidmore College with a BA in Psychology, and a concentration in dance, Jennie began her career in arts education coordinating artist-in-residency programs for Leap . . . imagination in learning in San Francisco, and the Cultural Arts Division of the City of Manhattan Beach. She has certification as an Applied Poetry Facilitator from the National Federation of Biblio/Poetry Therapy. She has also obtained an MA in Spiritual Psychology from the University of Santa Monica; a highly experiential counseling program which applies a soul-centered approach to mental and physical well-being. Jennie is the author of two books of poetry by Cardinal House Publishing: Silver Girl and Autism Disrupted: A Mother’s Journey of Hope. Her poetry has been featured in Edison Literary Review, Forge, Sanskirt Literary Arts Magazine, Kaleidoscope, and Bluestem magazines. Her work has been featured online at Hopeful Parents, Wellsphere, The SPD Blogger Network, and WOW! Women on Writing.
Stephanie Nash, MFA has an MFA from the Yale School of Drama, and a BA in psychology from Duke University. She has been a working actress in New York City and Los Angeles for 35 years in television, film, theater, and many commercials. Stephanie is also a respected acting teacher and audition coach, and is an original faculty member of the new UCLA Professional Program in Acting for the Camera – as well as an Associate Professor at Art Center College of Design (Film Directing Department.) Stephanie also taught expressive movement at University of Southern California, and comedy at the American Academy of Dramatic Art. In private practice, Stephanie coaches executives, professionals and special groups in mindful body language and public speaking. Stephanie has studied in the Alexander Technique, Body-Mind Centering, and other movement modalities. She founded Mindfulness Arts, a nonprofit organization devoted to helping people integrate mindfulness into their lives for better performance, creativity and ease. As a Mindfulness Coach and Integrative Counselor, Stephanie does speaking engagements and presentations all over the country, and as a top facilitator for Shinzen Young’s Basic Mindfulness system, Stephanie recently designed & implemented a mindfulness program for a Harvard Medical School brain study and recorded a stress-reduction app for a Carnegie Mellon study which will soon be available to the public.
Myriam Savage (Mimi), PhD, RDT- BCT is a registered drama therapist and drama therapy trainer with a doctorate in expressive therapies. Dr. Savage, a faculty member of the Social Emotional Arts (SEA) Program and Medical SEA Program at UCLArts & Healing, teaches the uses of theatre arts, drama, and expressive therapies to practitioners for professional development. She has established drama therapy programs for children and adults in acute psychiatric in-patient units and implemented creative arts therapy programs in rehab facilities for young adults. Dr. Savage has taught critical thinking via theatre arts for developmentally delayed young adults at UCLA’s Pathway Program and facilitated acutely disabled youth in a LAUSD school implementing a creative drama curriculum. As a professional actress, she connected community needs with facilitation using dramatic arts after the 1992 Los Angeles Uprising. Joining coalitions of concerned, film and theater industry professionals, she mentored youth by using expressive and dramatic arts at the Virginia Avenue Project and in the acclaimed documentary, Through the Eyes of the Children: 113th and Central. Inspired by this and her concerns for social justice, she used her skills as a teaching artist developing and teaching VAPA curriculum at various SoCal school districts. Dr. Savage’s current research includes the intersection of narrative inquiry, digital apps, and drama therapy in arts-based studies focusing on self-identity with youth from foster care. Awarded grants for her work, she publishes and presents at conferences on drama therapy and recently completed facilitating a two-year, weekly expressive arts group with homeless women in L.A.’s skid row for a documentary production, Game Girls (2017 release). Her alma maters include Princeton University, Cal State University LA, Lesley University, and the Neighborhood Playhouse School conservatory in New York. She is on the board of the NADTA and is also its SoCal chapter President. Contact her at SoCal Drama Therapy Centre at www.sfeala.com or email@example.com
UCLArts & Healing is approved by the California Psychological Association to provide continuing professional education for psychologists. UCLArts & Healing maintains responsibility for this program and its content.
Continuing Education Units for RNs are provided by Helen Kiger, Provider No. CEP10957. This program is approved for 55 contact hours of continuing education credit for RNs as required by the CA Board of Registered Nursing.
Refund policy: In order to keep our programs affordable yet self-sustaining, we regret that we are unable to offer refunds for cancellation; however, we are happy to provide you with credit good for one year from the date of the program toward the next offering of the same program or a different one. Credit applied toward a program with higher registration fees will require payment of the balance. In addition, credit may be applied toward purchase of curriculum materials for any program. Unused fees after one year would then be tax deductible to the fullest extent of the law because no goods or services would have been received for them.
IMPORTANT NOTICE: Those who attend this workshop 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 workshop. Those arriving more than 15 minutes after the start time or leaving before the workshop is completed will not receive CE credit.
learning objectives for CEs:
State 2 ways to enhance the safety of a group experience.
Explain 2 ways in which the arts are effective for healing trauma.
State 1 way that social emotional arts can build a growth mindset to enhance learning.
Describe 2 techniques for reducing stress when standing in front of an audience.
State 2 ways to shift body language for more effective communication.
Give 1 example of a nonjudgmental statement to respond to behavior.
State 2 ways that breath can be helpful for communication.
Explain 2 ways that rhythmic activities can be useful in healing trauma.
Describe 2 nonverbal ways using rhythm to facilitate empathy and connection among diverse participants in culture and/or ability.
Name 2 strategies that can be used to facilitate participation amongst children who are shy or reluctant to share verbally or play the drum.
Describe 2 ways that rhythmic activities can be used to facilitate reflection and self-disclosure in community groups.
Give 1 major reason why needs assessment is important before designing a program.
Name 2 different sources of information for needs assessment.
State 1 reason why it is important to align goals, activities and evaluation measures.
Cite 2 examples of creative attention getters.
Cite 2 ways to ground group energy.
Cite 2 ways to raise group energy.
State 2 underlying needs that might manifest as a behavioral issue.
State 2 examples of calming strategies for overstimulation.
List 3 movement patterns that may indicate trauma.
Describe 2 exercises involving breath, sound or movement to unwind stress.
Give 1 reason why creating a music playlist might be useful in daily life.
List 2 elements associated with music that facilitates relaxation.
State 2 elements of music that can trigger traumatic stress responses.
Describe 1 way that music can enhance expression in another art form.
Describe 2 techniques in writing or poetry can be used to encourage expression of feelings and connection to others.
Explain 2 ways to enhance cultural competence through writing or poetry.
State 1 example of a reflection question to affirm a group member who has shared their piece.
Identify 2 ways to talk non-judgmentally about art, in order to encourage engagement and dialogue.
State 2 ways that Visual Thinking Strategies can facilitate observation or communication skills.
Describe 1 way for group participants to share their art interactively.
State 2 kinds of art materials might be most appropriate for participants who are experiencing trauma-related stress.
State 1 way to encourage greater art expression from someone who is inhibited.
Give 1 example of how to respond to someone who is having a hard time engaging in an art activity.
Give 1 example of a statement that can reinforce underlying social or emotional behavior goals during a group art activity.
State the 1 basic rule of improvisation and how it applies to social emotional arts.
Describe 1 way to support and engage a participant who is unwilling to toss an imaginary ball and vocalized sound with it.
State 1 playful way to encourage verbal participation from group participants.
Explain 2 ways that improvised activities involving story structure and conflict can facilitate development of problem-solving or decision-making skills.
Describe 2 ways that improvisational theater work strengthens emotional skills.
Describe 2 ways that improvisational theater work strengthens social skills.
State 1 way to adapt a particular improvisational activity for younger or older groups.
State 1 way to encourage movement with someone unaccustomed to moving.
Give 1 example of how a movement activity can be used as a metaphor to reflect upon life.
Give 1 example of a nonjudgmental statement that describes observed movement, without assuming feelings or intentions.
Drawing upon information from the Laban Movement Analysis technique, list 3 different patterns or qualities of movement that can be observed.
State 1 example of how you might work with someone whose movement patterns are constrained.
State 1 example of a group movement activity that can build both connection and self-management / impulse contol skills.
Describe 1 way to use movement with children as a brief transition from a lively warm-up activity to a quieter main activity.
State 1 way to manage someone who is exhibiting disruptive behavior during a group activity.
State 1 way to engage someone who is shy or reluctant to participate.
Give 1 example of a statement that reinforces a social, emotional or cognitive learning objective.
Give 1 example of how an activity can be designed or adapted to accommodate cultural considerations.
Give 1 example of how an activity can be designed or adapted to accommodate developmental considerations.
Give 2 examples of Likert scale evaluation questions: one for children and one for adolescents or adults.
Give 2 examples of open-ended evaluation questions: one for children and one for adolescents or adults.
FOR NURSES ONLY: For each daylong session, participants will be able to state two ways in which this information can be useful in the practice of nursing.
Day 1 — Thursday, July 19
- Introduction to Theory and Practice: The benefits of the arts, why social-emotional learning is important, and how to maximize social-emotional benefits sustainably through the arts. The principles of maximizing social-emotional benefits will be demonstrated experientially with didactic debriefing. [Ping Ho]
- Presenting Yourself: Vocal and physical techniques for strengthening confidence and presence in the classroom. Participants will each have an opportunity to work on and demonstrate their stronger voice in front of other members of the training program. [Stephanie Nash]
- Communication: Ground rules for establishing safe group interaction, setting boundaries, positive and specific verbal communication skills, and identifying and encouraging participant engagement through non-verbal cues. Participants will learn specific language to encourage cooperation and cultural sensitivity. Dyadic work will be used to build self-awareness of postural and other non-verbal messaging. [Kathy Cass]
Day 2 — Friday, July 20
- Best Practices in Drumming: Beat the Odds: Social and Emotional Skill Building Delivered in a Framework of Drumming. This UCLA research-based program is scripted for clinical and rhythmic integrity and has been successfully delivered in many school settings. Strategies for the use of the program with different age groups will be offered. [Ping Ho]
- Needs Assessment and Evaluation Strategies: Identifying the needs of the population that you are serving as well as the stakeholders in any given project. How to measure program outcomes and develop assessment tools. Participants will practice creating evaluation questions and will learn interactively. [Ping Ho]
Day 3 — Saturday, July 21
- Group Behavior Management: Rhythm and movement-based strategies for managing groups, getting group attention, and transitioning from one activity to another. The presentation will revolve around socially- and emotionally-supportive strategies that are largely nonverbal in nature to prevent the need for yelling and other types of reactive or interventionist forms of classroom management. [Camille Ameen and Kathy Cass]
- Managing Special Needs: Understanding special needs. Nonverbal strategies for communication, stress reduction, and calming. Integration of students with special needs and regular students. Additional issues and methods to be considered in the delivery of arts experiences for special needs. [Camille Ameen and Kathy Cass]
- Traumatic Responses and Self-Care: Identifying body language, movement patterns, and behavior that may be indicative of trauma. How to avoid unintentionally re-traumatizing participants through the arts. How to use breath, sound, and movement to manage traumatic responses and for general self-care. [Carolyn Braddock]
BREAK - Saturday, July 22
Day 4 — Monday, July 23
- Best Practices in Music: Participants will learn experientially what constitutes relaxing music and sound, and will engage in an integrated arts experience of music, art, and poetry [Karen Howard]
- Best Practices in Poetry: Participants will experience poetry-based activities designed to encourage creative self-expression and meaningful dialogue in youth and other populations. [Jennie Linthorst]
Day 5 — Tuesday July 24
- Best Practices in Theater: Participants will experience theater-based activities that build self-esteem, spontaneous self-expression and positive social connection. This session integrates learning from other art forms and enables each participant to stretch their personal creativity in a safe and supportive environment. [Camille Ameen and Mimi Savage]
Day 6 — Wednesday, July 25
- Best Practices in Art: Participants will create art to communicate their thoughts and will experience art activities designed to facilitate meaningful social interaction. Participants will also learn how to engage inquiry and facilitate dialogue about art without judgment. [Jessica Bianchi and Erica Curtis]
BREAK - Thursday, July 26
Day 7 — Friday, July 27
- Best Practices in Dance/Movement: Participants will experience how to engage youth and other populations in dance/movement-based activities for expanding movement vocabulary, self-awareness, other awareness, and sense of community. These are enjoyable activities that anyone can do. [Gabrielle Kaufman and Kathy Cass]
- Preliminary Final Presentations: a practice session to clarify understanding of the final presentation process [Kathy Cass]
Day 8 — Saturday, July 28
Final presentation preparation day, with consultation available.
Day 9 — Sunday, July 29
- Final Presentations and Feedback: Prior to this weekend, trainees will work in small groups to develop a needs-assessment plan, arts-based curriculum, and evaluation strategy. Each small group will facilitate their curriculum for other trainees in the course, who will participate fully in the experience. Each group will receive feedback from a panel of instructors to prepare them for more effective delivery in the real world. [Camille Ameen, Kathy Cass, and Ping Ho]
- A packed lunch, as the lunch break is limited to an hour, and nearby restaurants may have long lines
- Plenty of snacks and water
- Comfortable clothing and shoes that are movement friendly
- Pens, notepads, handouts, and anything else that your assignments tell you to bring
To register, please complete the following steps:
Step 1: Download and fill out a SEA Registration Application Packet.
- If applying for Financial Aid, please also complete the Financial Aid Form section of the application packet.
Step 2: Email the completed SEA Registration Application Packet back to us at firstname.lastname@example.org.
Step 3: Reserve your seat by completing your online registration. Note that payment must be received in order to guarantee enrollment.
Cancellation refund requests must be received two weeks prior to the first day of the program, and submitted in writing to email@example.com with the subject header: SEA Cancellation Refund Request. Registrants will be refunded in full, less a $100 administrative fee if they have not received access to the curriculum materials, or less a $250 administrative fee if they have received access to the curriculum materials. Those who submit refund requests less than two weeks prior to the program, or who do not show up on the day of the program, will receive credit good for one year towards a future offering of the SEA program.
before the first day of the training:
Upon completing registration, you will be emailed the complete set of course assignments. Spring and Fall participants only need to complete one assignment in advance of the training. Summer intensive participants should plan to complete seven assignments in advance of the training, in order to reduce their workload during the one-week training.