This article was downloaded by: [Corporacion CINCEL]On: 16 May 2012, At: 06:20Publisher: RoutledgeInforma Ltd Registered in England and Wales Registered Number: 1072954 Registered office: Mortimer House,37-41 Mortimer Street, London W1T 3JH, UK

Art Therapy: Journal of the American Art TherapyAssociationPublication details, including instructions for authors and subscription information:http://www.tandfonline.com/loi/uart20

Circle Justice: A Creative Arts Approach to ConflictResolution in the ClassroomKaren Gibbons MFA, MPS, ATR-BC, LCAT aa Counseling in Schools National Network, New York City, NY

Available online: 22 Apr 2011

To cite this article: Karen Gibbons MFA, MPS, ATR-BC, LCAT (2010): Circle Justice: A Creative Arts Approach to ConflictResolution in the Classroom, Art Therapy: Journal of the American Art Therapy Association, 27:2, 84-89

To link to this article: http://dx.doi.org/10.1080/07421656.2010.10129716

PLEASE SCROLL DOWN FOR ARTICLE

Full terms and conditions of use: http://www.tandfonline.com/page/terms-and-conditions

This article may be used for research, teaching, and private study purposes. Any substantial or systematicreproduction, redistribution, reselling, loan, sub-licensing, systematic supply, or distribution in any form toanyone is expressly forbidden.

The publisher does not give any warranty express or implied or make any representation that the contentswill be complete or accurate or up to date. The accuracy of any instructions, formulae, and drug doses shouldbe independently verified with primary sources. The publisher shall not be liable for any loss, actions, claims,proceedings, demand, or costs or damages whatsoever or howsoever caused arising directly or indirectly inconnection with or arising out of the use of this material.

Art Therapy: Journal of the American Art Therapy Association, 27(2) pp. 84-89 © AATA, Inc. 2010

84

brief report

Abstract

This brief report describes a cooperative classroom arttherapy intervention in a public elementary school thatprovided conflict resolution education, social learning, andgroup cohesion among sixth-grade students. The organizingframework of a “circle justice” group explored the roles offictional characters in conflict, including group discussion,writing, art-based reflection, and problem solving. Resultsindicated a culture change in the group that is essential forincorporating conflict resolution in the classroom.

Introduction

Children who have been exposed to chronic violenceoutside of school are particularly at risk for bringingconflict and disruption to their classrooms. Mental healthservices typically help children integrate their experiencesand build effective coping skills. In schools, mental healthobjectives can sometimes be integrated with the needs andgoals of the classroom (Camilleri, 2007). Conflictresolution is one skill that can benefit all students.

This report presents the collaboration between an arttherapy team and a sixth-grade teacher at a publicelementary school in New York, NY, attended by childrenliving in a nearby public housing development. Camilleri(2007) outlined several of the many challenges faced bychildren living in inner cities—including racism, poverty,and violence—that may cause them to function poorly inschool and be at risk for conflict-prone behavior. Theschool-based art therapy program described in this reportwas created from collaborative relationships withadministrators, teachers, and students. A classroom groupprotocol provided the structure and limit setting that areimportant components for success when working withchildren experiencing environmental stress in theneighborhood and the classroom (Camilleri, 2007). In

addition to planning activities that support group cohesion,such as role-play and brainstorming, we proposed thatallowing students a voice within the group would beeffective in developing mastery and creating identity. Aconflict resolution lesson that is included in the curriculum,based in the creative arts, and learned experientially is mostlikely to produce effective outcomes (Hodges, 1995).

Literature Review

Conflict is inevitable in human relationships. Thesame elements that affect global conflicts are present inelementary school (Bickmore, 1999). Conflicts are eitherinterpersonal or intergroup and may involve bullying,anger, and violence in response to encounters with theopposing viewpoints, needs, and desires of differentpeople. It is clear from the literature that conflict resolutionis an important life skill that is often not acquired withoutexplicit education. Conflict education usually includesunderstanding the causes of conflict, the role of conflict inrelationships, and the inevitable choices that conflictpresents. Finally, conflict education should strengthen aperson’s capacity to create alternative solutions in responseto problems. By cooperatively identifying problems andtheir solutions, children can develop skills to succeed in theclassroom and beyond (Hodges, 1995).

Lindt (2006) offered steps to conflict resolution thatcenter on the desire to solve the conflict. Importantaccessories to that desire are honesty and the ability toimagine a different outcome for the future. Copingstrategies are important because without learning to resolveconflict productively, children can be left feeling angry,confused, or depressed (Lindt, 2006). Karahan’s (2009)conflict resolution training emphasizes self-expression, theuse of “I language,” listening skills, and the development ofempathy. In the field of peace psychology, conflictmanagement and peace building are now considered to bebasic skills for human well-being and survival, given today’spervasive threats to security and violation of human rights(Christie, Tint, Wagner, & Winter, 2008).

The need for conflict resolution education is apparentin the amount of time teachers spend on disciplinary issues

Circle Justice: A Creative Arts Approach to ConflictResolution in the Classroom

Karen Gibbons, New York, NY

Editor’s Note: Karen Gibbons, MFA, MPS, ATR-BC,LCAT, is an art therapist for the Counseling in Schools NationalNetwork in New York City and private practice in Brooklyn NY.Correspondence concerning this article may be addressed to theauthor at k.gibbons@earthlink.net

Dow

nloa

ded

by [

Cor

pora

cion

CIN

CE

L]

at 0

6:20

16

May

201

2

GIBBONS 85

in the classroom (Mayorga & Oliver, 2006). Stressfulschool settings often demand that students cope bysuppressing anger and other emotions, which paradoxicallycan lead to violence. Violence and other stress-inducedresponses can negatively impact academic success. Brinson,Kottler, and Fisher (2004) found a correlation betweenpoor conflict resolution skills and an increase in schoolviolence. A number of programs have been developed withthese findings in mind, such as Project REAL(Relationship, Education, Academics, and Leadership) andProject WIN (Working out Integrated Negotiations).Emphasizing stress management and effectivecommunication, Project REAL uses art therapy and othermodalities with middle school students who have beenexposed to domestic violence (Foreman, 1994). ProjectWIN organizers reduced violence in a middle schoolattended by students from low-income families by teachingstudents to transform competitive behaviors intocooperative ones. Their results showed a decrease in teachertime spent dealing with disciplinary issues (Ferro-Almeida,Roberts, & Yeomans, 2007). Peer mediation methods forconflict resolution may reduce school suspensions and areconsidered important by mediators and participants alike(Cantrell-Schellenberg, Parks-Savage, & Rehfuss, 2007).

Despite these positive findings, many schools do nothave resources for conflict resolution. The Association forConflict Resolution concluded that integrating conflictresolution into the curriculum is the most effective strategyfor infusing the concepts, skills, and values necessary toimprove the quality of classroom culture (Compton,1995). Prosocial behavior learned in the classroom,including skills for conflict resolution, affects schoolculture both in and out of the classroom. The Associationfor Conflict Resolution advocates linking conflictresolution education and the curriculum by (a) combininglearning experiences for conflict resolution with academicsubjects such as language arts, social studies, or health; and(b) modeling conflict resolution techniques throughout theschool day through such strategies such as collaborativeproblem solving and active listening.

An interdisciplinary approach toward developing socialskills in an educational environment also can be facilitatedthrough literature. Bibliotherapy is useful in a classroomsetting to safely illuminate and alleviate stressful situationsthat affect children’s lives (Jackson, 2006). Literature canfoster emotional growth and healing because stories containmemorable protagonists, engaging plots, and powerfulthematic material. These elements can become catalysts forchange, modeling fresh options for thought and feeling(Heath, Leavy, Money, Sheen, & Young, 2005).

In a school-wide anti-bullying program in an Illinoismiddle school, fictional characters and plots were related toactual events. Program leaders found that literatureprovided distance for students to understand the emotionalimpact of bullying and to seek alternatives (Hillsberg &Spak, 2006). Literature also lends itself to therapeutic role-playing. By acting out roles drawn from examples inliterature, students take on another’s perspective forreflection. The distance provided by the role frees the

student to empathize with another’s thoughts andintentions. Drama therapy also helps children gain impulsecontrol and a better understanding of the impact theiractions have on others (Malchiodi, 2008).

Art therapy has been used in conflict resolutioneducation (Wadeson & Wirtz, 2005). According to Bush(1997), students who are supported through art therapyinterventions often have better understandings of theirchallenges and greater ability to resolve problems. Arttherapists can develop methods of instruction andintervention that may not be feasible with traditionaleducation models. Because art therapists are generallyadjunct therapists in a school setting, they are freer to createinterdisciplinary support than primary counselors who mayneed to provide mandated counseling and other school-related duties as their priority. Addressing conflict resolutionthrough art-based interventions for the entire classroomhelps to create an atmosphere of mutual respect, empathy,and security. These components are viewed as necessary fora curriculum to function therapeutically (Henley, 1997).

Method

I approached the classroom teacher to propose an art-based group focused on conflict resolution that would beintegrated into the language arts curriculum. The teacher,Mr. James (pseudonym), anticipated difficulty with his sixth-grade class because they had never before functioned well asa group. He felt that he was spending too much time tryingto regain order and attempting to resolve disputes. Studentswere often distracted and easily incited to anger. Mr. Jamessaid that although he struggled to create and maintain orderthe students resisted working together and frequent conflictsthwarted the learning process. I began to design a group toaddress the difficulties these children had in respecting oneanother and working cooperatively. The principal wassupportive of these efforts, particularly because the schoolcounselors were unable to provide classroom interventionsbecause their job duties required them to be elsewhere.

A full-class “push-in” group was proposed. To “push-in” means that the intervention is brought into theclassroom rather than “pulling out” certain individualsfrom their classes as one might do for individual or smallgroup learning. The teacher enthusiastically supported theidea and agreed to begin a literacy unit using the bookTouching Spirit Bear by Mikaelsen (2001). I recommendedthis wonderful age appropriate work of realistic fictionbecause of its application to conflict resolution and arts-based intervention. The students began reading the bookand a weekly push-in group was scheduled.

The group became known as “Circle Justice” based onconcepts introduced in Mikaelsen’s (2001) book. TouchingSpirit Bear is a story of an adolescent boy who is repeatingfamilial patterns of violence. At age 15, he has a history offighting, stealing, and irresponsibility. After seriouslyinjuring a classmate in a fight, the boy is offered analternative to incarceration through a Native Americanprocess of settling disputes called circle justice. Thepractice of circle justice brings together a group of people

Dow

nloa

ded

by [

Cor

pora

cion

CIN

CE

L]

at 0

6:20

16

May

201

2

CIRCLE JUSTICE: A CREATIVE ARTS APPROACH TO CONFLICT RESOLUTION IN THE CLASSROOM86

from the community that cares about the person and has avested interest in the outcome of the dispute. The purposeis to heal rather than to punish. In circle justice one needsto “forgive to get over anger. . . . Healing requires takingresponsibility for your actions” (Mikaelsen, 2001, p. 12).In the course of his journey, the boy expresses hisnewfound insights by carving a totem pole. He graduallylearns the values that allow him to forgive his parents as hebefriends and makes amends to the boy he had callouslyinjured in the heat of anger. The possibility of reform andreal change come from experientially learning the effectshis behavior has on the entire circle of people in his life.

A structured 8-week program was designed in whichtwo art therapists came into the classroom to facilitate agroup for one class period each week. I invented a scenariothat paralleled the story in the book and included elementsfrom the students’ current circumstances. The backstorywas set in a sixth-grade classroom similar to their own:

The boy, “Sam” was 12 years old. He was good at sports,poor in school, and a jokester. Sam lived with his motherand grandmother. From preschool on, Sam was friends witha girl, “Kathy,” who was a good student and an avidcheerleader. Kathy had been working on an art portfolio foradmission to a special middle school. Sam became angrybecause his mother always compared him unfavorably toKathy. He was so jealous that when no one was looking, hethrew water on Kathy’s art project. When Kathy came inand saw her ruined work, she ran over to it and slipped onthe water. In the fall, she broke both an arm and a leg. Samwas immediately accused of causing the fall even though noone witnessed the water spill. He denied having done it andwas initially pleased that Kathy and he were now in the samecircumstance, destined to go to any middle school thatwould accept them.

After telling the story, I asked the students to form acircle of community, as in Touching Spirit Bear, to decidehow to deal with the fictional situation. There were 18students in the class. To form the community, I created 10specific roles, each embodied by a different character. Inorder to ensure that each student had equal opportunity toparticipate in various ways, roles were selected at randomeach week. A pendant was made for each of the characterswith its name on the front and a description of its role onthe back (Figure 1). At the start of the weekly session, eachstudent chose a pendant to wear so that everyone couldidentify the characters and roles for that day. Students whoselected an observer role were asked to be reporters usingworksheets with the words “I noticed that . . .” printed atthe top, to record their observations. Adults always tookthe character roles of Sam (teacher) and Kathy (coleader) inorder to allow consistency and development of thenarrative. I was the “circle keeper” who facilitatedopportunities for restating, refocusing, making parallels,modeling, and emphasizing strengths (Camilleri, 2007).

Each week followed a fixed format. A ritual was createdwhere the students touched hands and observed a momentof silence to open the circle. The main obligations of thecircle were honesty and respect. Agreements were discussedin relation to the book; for example, “talking too long tells

others that you don’t respect their right to speak” (Mikaelsen,2001, p. 38). Participants spoke only when they were passeda feather (Figure 1), a structure that provided an importantsense of safety when confronting potent ideas. Holding thefeather signified who had the floor, either to answer thequestion posed to the group or to pass. Each response had tocome from the point of view of the role that the student hadselected. Roles included Sam’s mother, Kathy’s mother, theschool principal, the vice principal, and four students withdifferent backgrounds (two boys and two girls). Thestructure allowed for a new concept to be introduced eachweek: formation of agreements (Week 1), community (Week2), friendship (Week 3), trust (Week 4), balance (Week 5),communication (Week 6), self-identity (Week 7), andintegration (Week 8).

After about 20 minutes the circle closed in the samemanner it began. The next portion of the group session wasdevoted to making art based on the theme of that week’sdiscussion. All art was created in the form of a mandala orcircle, which provided containment in the same way as didthe physical circle for the role-play. Each session endedwith a brief period for observers to relate their observationsand for group members to offer comments about theirexperience.

The mandalas were collected each week. During theart-making portion of the final session the students formedtheir circles into a “totem pole” that stacked the mandalasfrom bottom to top, beginning with community andending with self-identity. These became expressions of self,similar in spirit to the totem pole carved by the characterin the book. It was important for the students to see theculmination of their work over several months as a tangiblerecord of their circle justice journey.

Circle Justice Group Process andResults

Week 1: Forming Agreements. Students benefited fromritual and role-play from the start. Because the groupmembers were young adolescents, I saw their resistant anddefensive behaviors as developmentally typical. At the sametime, they were hungry for role models and were grapplingwith the implications of gender-defined roles. The CircleJustice group answered these developmental needs througha structure that focused on strengths and offered projectiveidentities while giving the students a measure of control(Riley, 2001). The first week all the students agreed to usecircle justice and to play the necessary roles to help heal theconflict between “Sam” and “Kathy.” The group createdagreements and reviewed them each subsequent week.Introduced to the mandala format, students colored thesame designs in their own way (Figure 2). Beginning withpremade designs helped the children to see that there aredifferences even in conformity.

Week 2: Community. Anxiety was evident incomments spoken aloud and in the students’ writtenobservations, such as “I noticed that some students didn’ttake their roles seriously” and “some people werelaughing.” Although each session had some outbursts and

Dow

nloa

ded

by [

Cor

pora

cion

CIN

CE

L]

at 0

6:20

16

May

201

2

87GIBBONS

other indicators of anxiety, the holding quality of thecircle and the ritual visibly calmed the group. Whensilence fell, the majority of the students remained incharacter and took Sam and Kathy’s situation quiteseriously. “I think Sam needs more attention from home”and “Sam needs help” were observations from the secondweek. Remaining in the role freed the students tounderstand the complexity of the conflict (Bickmore,1999). A focus on the concept of community was a safeway to begin expressing themselves in the artwork as well(Figure 3). The group members at this point were veryaware of what other students were doing and tended to usesimilar motifs.

Week 3: Friendship. As time went on the students madeconnections between Sam and Kathy and the charactersfrom Touching Spirit Bear (Mikaelsen, 2001). They alsobegan to empathize with their own Circle Justicecharacters, such as “Sam realized he didn’t want to hurtanybody” and “Kathy must feel alone.” The opportunity towrite, comment on, and create their own artistic

expressions gave the students a sense of control. Onestudent wrote, “I noticed that everyone was focused andreally cared.”

Week 4: Trust. Students used symbolic or pictorialspace to express the concepts discussed each week. Theteacher commented on the power of the mandalas tobring a sense of calm to the room. Having stable,consistent roles for Kathy, Sam, and the circle keeperprovided an ongoing opportunity for identifying withrole models. Trying on different roles or being anobserver allowed students to think for themselves aboutthe steps involved in resolving conflict (Cloke, 2007).Students took on different points of view and learnedcooperative strategies for problem solving in the process.By Week 4, many students were making connections andusing creative thinking. Students’ artwork that haddefensive symbols now took on more personal meaning(Figure 4). The students wrote that they noticed that“trust can be regained” and “trusting means that youcould depend on” others.

Figure 1

Figure 3

Figure 2 Figure 4

Dow

nloa

ded

by [

Cor

pora

cion

CIN

CE

L]

at 0

6:20

16

May

201

2

88 CIRCLE JUSTICE: A CREATIVE ARTS APPROACH TO CONFLICT RESOLUTION IN THE CLASSROOM

Week 5: Balance. By Week 5 students were trackingfeelings and offering suggestions in response to the story’snarrative. They began to identify needs for themselves andthey were no longer making comments suggesting punitivetreatment for Sam. The group was now working more as awhole and began to agree on suggestions that were moreconstructive. Earlier the children said, “Sam should feelKathy’s pain.” At this point it was suggested that Sam couldspend his free time working for Kathy or could help otherpeople in need.

Week 6: Communication. The students began tounderstand the importance of listening as well asspeaking. By Week 6 they knew how to communicatetheir feelings about the day’s discussion in their artmaking. They were listening to Kathy’s point of view aswell as Sam’s. The person in the role of Sam (who, to beconsistent, was always the teacher) said that he needed tobe active so it was suggested he teach ball games tochildren confined to wheelchairs in an after schoolprogram. They also listened and responded to the personin the role of Kathy (who was always the coleader) whenshe said she was “still sad” because she needed to re-doher art portfolio that Sam had ruined.

Week 7: Self-Identity. The conflict was resolved thisweek when it was decided that Sam should continue tohelp out in the after school program for children withspecial needs and help Kathy recreate her portfolio. Kathywas to reciprocate by helping Sam apply for the middleschool he wanted to attend. With the help of the circle,Kathy and Sam were ready to be friends again. Throughoutthe process some students related to Kathy and Sam asstrongly as they would in their own classroom interactions.This tendency was clear when the “I noticed . . .”observation pages made references with equal passion tocharacters in the circle as to real-life classmates and theirconcerns. The merging of the book, the story portrayedthrough role-play, and the students’ real-life dramas was aphenomenon that seemed to indicate assimilation of thematerial being learned. When the directive asked thestudents to use their mandalas to portray self-identity, theresult was congruent with the manner of thinkingencouraged in the circle. Students thought of themselves inrelation to the story about Kathy and Sam. In the course ofthe Circle Justice group, the process of looking at all sidesof a problem encouraged self-exploration and strengthenedthe participants’ abilities to develop their own egos(Henley, 1997).

Week 8: Integration. Excitement and understandingwere palpable in the classroom during the final week of theCircle Justice group. The art therapy intervention hadprovided positive modeling, a matrix of concepts, student-centered strategies, and visual reinforcement throughoutthe 8-week program. A new quality of connectivity in theclassroom was a strong indication of the culture changedescribed as essential by those who advocate forincorporating conflict resolution into classroomcurriculum (Bickmore, 1999).

Conclusion

We depend on schools to foster leadership and toproduce responsible citizens. Students with stressful lives andinconsistent role modeling at home are particularly at riskfor conflict prone behavior (Camilleri, 2007). Creativity iscrucial to developing positive coping skills for these studentsbecause it empowers the individual, promotes new ways ofthinking, bridges different learning styles, and heals theeffects of cultural trauma (Bruce, 2001). The goal of theCircle Justice group was to offer a creative arts approach toconflict resolution that could be incorporated withclassroom learning. In the process students gained anunderstanding of different points of view whilestrengthening their own unique responses. The evolution oftheir thinking and individuality was supported throughoutby art making. The teacher and students alike arrived at anew appreciation of the rich range of their own personalexpressions as well as a sense of bonding through commonmotifs. A classroom display of their totemic mandalaarrangements (Figure 5) provided visual representation oftheir collective journey. The students’ expanded knowledgeof trust, forgiveness, and positive consequences continue tobe reinforced in their ongoing study of Touching Spirit Bear(Mikaelsen, 2001). The participation and commitment ofthe classroom teacher has helped to support containmentand strong group formation.

The entire conception and execution of this groupintervention was dependent on the relationship madepossible by a school-based art therapy program.Competence in conflict resolution is crucially importantfor the future of students everywhere as they become thecitizens of tomorrow. Combining creative arts modalitieswith the school curriculum is an important consideration

Figure 5

Dow

nloa

ded

by [

Cor

pora

cion

CIN

CE

L]

at 0

6:20

16

May

201

2

GIBBONS 89

for school-based art therapy practice. It is my hope that thissuccessful group may point the way for future creative artsinterventions related to conflict resolution in schools.

ReferencesBickmore, K. (1999). Elementary curriculum about conflict

resolution: Can children handle global politics? Theory andResearch in Social Education, 27(1), 45–69.

Brinson, J., Kottler, J., & Fisher, T. (2004). Cross-culturalconflict resolution in the schools: Some practical interventionstrategies for counselors. Journal of Counseling andDevelopment, 82(3), 294–301.

Bruce, J. (2001). Crisis and creativity in developing communities.Retrieved from http://www.arts-for-life.org/page11.html

Bush, J. (1997). The development of school art therapy in Dadecounty public schools: Implications for future change. ArtTherapy: Journal of the American Art Therapy Association, 14(1),9–14.

Camilleri, V. (Ed.). (2007). Healing the inner city child: Creativearts therapies with at-risk youth. London, England: JessicaKingsley.

Cantrell-Schellenberg, R., Parks-Savage, A., & Rehfuss, M.(2007). Reducing levels of elementary school violence.Professional School Counseling, 10(5), 475–481.

Christie, D., Tint, B., Wagner, D., & Winter, D. (2008). Peacepsychology for a peaceful world. American Psychologist, 63(6),540–552.

Cloke, K. (2007, March). Removing masks in mediation.Association for Conflict Resolution of Greater New YorkNewsletter. Retrieved from http://www.acrgny.org/newsletter.cfm

Compton, R. (1995). Discovering the promise of curriculumintegration: The national curriculum integration project.Conflict Resolution Quarterly, 19(4), 447–464.

Ferro-Almeida, S., Roberts, L., & Yeomans, P. (2007). ProjectWIN evaluation shows decreased violence and improvedconflict resolution skills for middle school students. RMLEOnline: Research in Middle Level Education Online, 30(8),1–14.

Foreman, D. (1994). Increasing the academic achievement ofmiddle school children exposed to domestic violence throughinterpersonal-cognitive group counseling and parenting education(Project REAL). (Ed.D. Practicum report, Nova SoutheasternUniversity). Retrieved from ERIC database. (ED373865)

Heath, M., Leavy, D., Money, K., Sheen, D., & Young, E.(2005). Bibliotherapy: A resource to facilitate emotionalhealing and growth. Journal of School Psychology International,26(5), 563–580.

Henley, D. (1997). Expressive arts therapy as alternativeeducation: Devising a therapeutic curriculum. Art Therapy:Journal of the American Art Therapy Association, 14(1), 15–22.

Hillsberg, C., & Spak, H. (2006). Young adult literature as thecenterpiece of an anti-bullying program in middle school.Middle School Journal, 38(2), 23–28.

Hodges, J. (1995). Conflict resolution for the young child.Retrieved from ERIC database. (ED394624).

Jackson, M. (2006). Bibliotherapy revisited: Issues in classroommanagement; developing teachers’ awareness and techniques tohelp children cope with stressful situations. Retrieved from ERICdatabase. (ED 501535)

Karahan, T. (2009). The effects of a communication and conflictresolution skills training program on sociotrophy levels ofuniversity students. Educational Sciences: Theory and Practice,9(2), 787–797.

Lindt, S. (2006). Six steps to conflict resolution. National MiddleSchool Association: Middle Ground, 9(4), 33.

Malchiodi, C. (Ed.). (2008). Creative interventions withtraumatized children. New York, NY: Guilford Press.

Mayorga, M., & Oliver, M. (2006). Conflict resolutioneducation: Component of peer programs. Perspectives in PeerPrograms, 20(2), 32–39.

Mikaelsen, B. (2001). Touching spirit bear. New York, NY:HarperCollins.

Riley, S. (2001). Group process made visible. Philadelphia, PA:Brunner-Routledge.

Wadeson, H., & Wirtz, G. (2005). The hockey/art alliance. ArtTherapy: Journal of the American Art Therapy Association, 22(3),155–160.

Dow

nloa

ded

by [

Cor

pora

cion

CIN

CE

L]

at 0

6:20

16

May

201

2