Lecture 1 (9:30–11:00 a.m.)

Group formation, arrival, and related art-making techniques

Presenters: Erika Pap – Clinical Psychologist, Symbol Therapist and MBT-A Therapist Erzsébet Katalin Komáromi – Art Therapist and Applied Artist

Content:

Launching an art therapy group involves its own distinctive dynamics and therapeutic opportunities. The first session is crucial for creating a safe space, laying the foundations for group cohesion, and introducing participants to the creative process.

Az előadás során megismerkedünk a csoportindítás módszertanával és az érkezéshez kapcsolódó technikákkal. A „Névjegykártya” technika lehetőséget ad a bemutatkozásra és az önkifejezésre, míg a „Honnan érkeztél, mit hoztál magaddal?” kérdés segíti a jelenlét tudatosítását. A foglalkozás sajátélményű formában zajlik, így a résztvevők megtapasztalhatják, hogyan hat az alkotási folyamat a csoportba való bekapcsolódásra.

Lecture 2 (11:30–13:00 p.m.)

Art Therapy Methods in Clinical Assessment – Experiential Session

Content:

Art therapy creations can provide diagnostic information about a client’s emotional state, relationship patterns, and cognitive organisation. During this experiential module, participants will explore how creative work can offer insight into psychological functioning.

A foglalkozás során kipróbáljuk a „Foltok” technikát, amely projektív eljárásként működik. Az előre elkészített vagy ragasztott foltok kiegészítése és értelmezése betekintést ad a percepciós mintákba és az asszociatív gondolkodásba. A reflexió fókuszában az alkotási folyamatban való elmélyülés élménye áll.

Lecture 3 (13:30–15:00 p.m.)

Art Therapy Methods in Clinical Assessment – Clinical Case Study

Content:

During the theoretical module, we will examine the diagnostic value of art therapy creations through the analysis of clinical cases. We will explore how signs of anxiety, depression, traumatic experiences, and relationship difficulties may be reflected in creative work.

Participants will be introduced to the basic principles of interpreting creative work, including the analysis of formal features—such as line quality, use of space, colour, and pressure—as well as content elements, including symbols, figures, and narratives. We emphasise the importance of interpreting artworks within their context and the risks of overinterpretation.

Lecture 4 (16:30–17:15 p.m.)

From Art Therapy Processes to Art Psychotherapy

Content:

Understanding the distinction between art therapy and art psychotherapy is fundamental to clinical practice. The lecture explores the continuum from activity-based creative work to in-depth psychotherapeutic treatment.

We will examine when and how art therapy can be used as a standalone modality and when it is more appropriate to combine it with other therapeutic approaches. We will also explore differences in the therapeutic framework, setting, and the therapist’s role across the various forms of practice.

Lecture 5 (9:30–11:00 a.m.)

Comprehensive Art Therapy Methods in Clinical Practice – Experiential Session

Content:

The complex art therapy approach integrates multiple sensory channels and forms of expression. During the experiential session, participants will explore the “Shared Image, Individual Narrative” technique, in which collaborative art-making is followed by individual storytelling.

The technique offers opportunities to observe projective processes, explore group dynamics, and allow individual narratives to unfold. During the reflection, the group completes the story together, thereby modelling the process of therapeutic storytelling.

Techniques presented:

• State Image and Self-Image: Visual representation of the current emotional state and self-image
• Beadwork Technique: A two-person creative exercise that reflects relationship dynamics.
• Relationship Network: Visual mapping of the individual’s social relationships.
• Free Drawing: An unstructured creative opportunity for exploring individual themes.
• Battle of Opposites: A team-based art game.

Lecture 6 (12:00–13:30 p.m.)

Possibilities and Challenges of Integrating Verbal and Non-Verbal Therapeutic Methods

Content:

The unique strength of art therapy lies in its ability to bridge non-verbal expression and verbal processing. During the lecture, we will explore how creative work enables the expression of experiences that cannot easily be put into words, and how verbal reflection supports the process of integration.

We will explore the challenges involved in integrating the two modalities: when it is helpful to verbalise, when it is important to preserve space for silence, how to avoid overinterpretation, and how to support clients in creating their own meaning. Particular attention will be given to adapting forms of reflection according to the group setting and the individual therapeutic process.

Lecture 7 (14:00–14:45 p.m.)

Play – Visual Expression of Messages – Discussion

Content:

Integrating playful elements into art therapy enhances spontaneity and reduces performance anxiety. During the session, we will explore the “Battle of Opposites” and “Creating an Image of Desire” techniques.

The “Battle of Opposites” technique provides an opportunity to externalise and visually represent inner conflicts. Creating an “Image of Desire” is a future-oriented, resource-focused therapeutic tool. During the reflection, we explore what the image communicates to its creator, what mood it evokes within the group, and how it relates to the present.

Lecture 8 (15:00–16:30)

Structuring Art Therapy Groups in Theory and Practice

Content:

Planning and facilitating an art therapy group requires specialised competencies. During the lecture, we will review the key considerations involved in developing the group structure: group size, an open or closed format, the frequency and duration of sessions, and whether the group follows a thematic or freely structured approach.

At the conclusion of the two intensive experiential days, we will process the experiences of the training through the “Setting the Table” technique. The reflection will focus on the question: “What will each participant take away with them?”

Lecture 9 (16:45–18:45)

Case Discussion and Closing Session

Content:

During the closing session, participants will present the questions, experiences and cases that arose while applying the methodologies introduced during the training in their own clinical practice. This supervision-style discussion provides an opportunity for participants to receive feedback from both the course leaders and fellow group members.

The discussion will focus on the following questions: Which techniques did the participants try between the two training sessions? What difficulties did they encounter while applying them? How did the clients respond to the new methods? What adaptations were needed to accommodate the specific characteristics of the clinical population or setting?

During the joint reflection, we will examine successful interventions and challenging situations, and explore possible solutions together. The group case discussion models the form of collegial support that is essential for sustaining art therapy practice over the long term.

To conclude the training, we will process the experiences of the three days using the “Setting the Table” technique. Participants will express both visually and verbally what they are taking away from the training: the new knowledge and techniques they have gained, any shifts in perspective, and the questions they would like to explore further in the future.

Lecture 1 (9:30–11:00 a.m.)

The Six-Part Story Method (6PSM) in Individual Practice – Experiential Session

Presenters: Erika Pap – clinical psychologist, symbol therapist and MBT therapist; and Erzsébet Katalin Komáromi – art therapist and applied artist

Content:

During the experiential session, participants will experience the process of creating a Six-Part Story themselves. Following the method’s standard instructions, each participant will create their own six-part story in visual form.

Following the experiential exercise, participants will take part in a group reflection, where they can share their experiences of the creative process. The emphasis is not on interpretation, but on experiencing the method and observing personal resonances.

Lecture 2 (11:30–13:00 p.m.)

Introduction to the Six-Part Story Method – Lecture

Content:

The Six-Part Story Method (6PSM) was developed by Israeli psychologist Mooli Lahad in the 1980s, originally to explore how individuals cope with stressful situations. The method is based on the work of Jungian analyst Marie-Louise von Franz on the interpretation of fairy tales, in which she identified six archetypal elements found in stories and dreams.

The essence of the method is that the client creates a new fictional story based on six structured elements: a protagonist, who is not necessarily human; a task or mission; sources of support; obstacles; a turning point; and an ending. During the creative process, the client’s unconscious patterns, coping strategies and relationship to the world emerge in metaphorical form.

During the lecture, we will review the historical background and theoretical foundations of the method, as well as the framework for its clinical application. We will examine how the 6PSM differs from other projective techniques and how it fits within narrative therapeutic approaches.

Lecture 3 (13:30–15:00 p.m.)

Methodology for the Individual Application of the Six-Part Story Method in Clinical Assessment and Therapeutic Groups – Experiential Session

Content:

As a continuation of the experiential session, participants will become familiar with the specific features of applying the Six-Part Story Method through visual art. The method can be carried out not only through drawing, but also using painting, collage or mixed-media techniques.

During the lecture, we will explore how the choice of artistic medium influences the development of the story and the emergence of projective content. The visual arts approach provides an opportunity to express preverbal experiences and material that is difficult to put into words.

Participants will try different visual variations of the method and reflect on the differences between the techniques in a group discussion.

Lecture 4 (15:15–16:45)

Tools and Methodological Requirements

Content:

During the lecture, we will review the technical requirements of the method, including considerations for selecting paper sizes and types, as well as drawing materials such as pencils, chalks and paints.

We will examine key considerations in establishing the therapeutic setting: how to create a safe creative space, which instructions support client engagement, and how to address technical difficulties or creative blocks. We will also discuss methods of documentation, including recording the stories and artworks, making audio recordings, and preparing transcripts.

Participants will receive practical guidance on introducing the method into their own professional practice.

Lecture 5 (9:30–11:00 a.m.)

Art Therapy Applications of the Six-Image Story Method in Group Settings – Experiential Session

Presenters: Erika Pap – clinical psychologist, symbol therapist and MBT therapist; and Erzsébet Katalin Komáromi – art therapist and applied artist

Content:

Group-based application offers distinctive dynamics and therapeutic opportunities. During the experiential session, participants will explore how the Six-Image Story Method works in a group setting, including simultaneous art-making, shared reflection and the process of sharing stories.

In the group setting, the method functions not only as an individual diagnostic and therapeutic tool, but also as a means of exploring group dynamics and interpersonal patterns. Participants can observe how their stories resonate with one another, what collective themes emerge, and how the presence of the group influences the creative process.

Lecture 6 (11:30–13:00)

Art Therapy Applications of the Six-Image Story Method in Group Settings – Experiential Session (Continued)

Content:

In the second part of the experiential session, we will focus on the reflective phase of the group-based Six-Image Story Method and on approaches to therapeutic processing. Participants will become familiar with techniques for sharing the stories within the group and exploring their meanings together.

We will explore how group reflection can be facilitated in a way that allows the creator to retain control over the interpretation while the group’s feedback enriches understanding. We will also examine the therapist’s role: how the facilitator can balance a supportive presence with avoiding excessive intervention.

Lecture 7 (14:00–15:30)

Therapeutic Factors of Theatre Therapy and Psychodrama in the Application of the Method

Content:

The Six-Image Story Method naturally connects with drama therapy and psychodrama approaches. The story can be explored not only visually but also through dramatic enactment: giving voice to the characters, acting out scenes and using role reversal can all deepen the therapeutic impact.

During the lecture, we will review the key concepts of drama therapy and psychodrama, and explore how these approaches can be integrated into work with the Six-Image Story Method. Techniques of dramatic embodiment, distancing and role-play can all be applied in processing the stories.

Lecture 8 (15:45–17:15)

BASIC Ph – A Multimodal Model of Resilience and Coping

Content:

The BASIC Ph model was developed by Mooli Lahad and Ofra Ayalon to provide an integrative understanding of resilience and coping strategies. The model identifies six coping channels: Belief, including faith and values; Affect, referring to emotions; Social, involving social support; Imagination; Cognition, encompassing knowledge and thinking; and Physical, relating to bodily and physiological processes.

The model is based on the idea that every person possesses internal resources that can be mobilised in stressful situations. One of the diagnostic strengths of the Six-Image Story Method is that the client’s preferred coping channels can be identified through the elements that emerge in the story.

During the lecture, we will explore the theoretical background of the BASIC Ph model, the research evidence supporting it, and its potential clinical applications.

Lecture 9 (9:30–11:00)

Storytelling and Healing Fairy-Tale Therapy – Opportunities and Challenges in Integrating the Methods

Presenters: Erika Pap – clinical psychologist, symbol therapist and MBT therapist; and Erzsébet Katalin Komáromi – art therapist and applied artist

Content:

The Six-Image Story Method and healing fairy-tale therapy both draw on narrative approaches, but they operate with different focuses. While fairy-tale therapy often works with existing stories, the 6PSM is based on creating a new, individual story.

During the lecture, we will explore how these methods can be combined in clinical practice. When is it more appropriate to use existing fairy tales, and when is individual story creation preferable? How can the methods complement one another within the therapeutic process? We will also examine their points of connection with bibliotherapy and narrative therapy.

Lecture 10 (11:30–13:00)

Theoretical Framework and Practical Significance of the Seven-Step Analysis

Content:

The Seven-Step Analysis provides a structured framework for interpreting the Six-Image Story. The steps of the analysis are as follows: (1) describing the protagonist, (2) examining the setting and context, (3) exploring the nature of the task or mission, (4) identifying sources of support, (5) uncovering the obstacles, (6) analysing the turning point and coping strategy, and (7) evaluating the ending and outcome.

During the lecture, we will examine each step in detail, along with the key considerations involved in interpretation. We will explore how the client’s coping patterns, relational schemas and worldview are reflected in the story. We will also discuss common interpretive pitfalls and ways to avoid overinterpretation.

Lecture 11 (14:00–15:30)

Clinical Case Analysis with Video Demonstration

Content:

To deepen their theoretical understanding, participants will study the clinical application of the Six-Image Story Method through video recordings. The cases presented represent different age groups and a range of diagnostic questions.

During the video analysis, participants will observe the therapist’s style of giving instructions, the client’s creative process, and the dynamics of the reflection phase. In a group discussion, we will analyse what we have observed and compare the patterns emerging across the different cases.

Lecture 12 (16:00–17:30)

The Six-Image Story Method in Child Psychiatric Rehabilitation

Content:

Child psychiatric practice presents specific challenges and opportunities for applying the Six-Image Story Method. The method may be particularly suitable in cases where verbal expression is limited or where a direct approach triggers resistance.

During the lecture, we will examine how the method can be applied across different child psychiatric populations, including anxiety and mood disorders, behavioural problems, trauma and developmental disorders. We will also address the importance of considering the child’s developmental level and the role of parental involvement.

Lecture 13 (9:30–11:00)

Exercises and Case Studies in Applying the Six-Image Story Method and the Seven-Step Analysis I.

Presenters: Erika Pap – clinical psychologist, symbol therapist and MBT therapist; and Erzsébet Katalin Komáromi – art therapist and applied artist

Content:

On the final day, participants will deepen their practical application skills through the analysis of case studies. In the first session, we will jointly analyse written stories and their accompanying drawings using the Seven-Step Analysis framework.

During the small-group work, participants will interpret cases independently and then compare their analyses in a group discussion. This process helps develop interpretive skills and raise awareness of potential subjective biases.

Lecture 14 (11:30–13:00)

Exercises and Case Studies in Applying the Six-Image Story Method and the Seven-Step Analysis II.

Content:

In the second practical session, the emphasis will be on analysing visual artworks. We will examine the additional information conveyed by visual elements, including the use of colour, spatial organisation, the depiction of figures and the quality of line.

Participants will practise integrating the interpretation of verbal content (the story) and visual content (the drawing). We will explore how to respond when the two contradict one another and how this incongruence can be used in therapeutic work.

Lecture 15 (14:00–15:30)

Adapting the Method to Different Therapeutic Settings: From Children to Adults

Content:

The Six-Image Story Method can be flexibly adapted to different age groups and clinical populations. During the lecture, we will review the key considerations involved in adaptation and the modifications required.

For children, key considerations include simplifying the instructions, incorporating playful elements, and deciding whether a parent should be present. With adolescents, the focus is on respecting autonomy and managing resistance. With adults, the method can be combined with verbal therapeutic techniques. For older clients, its points of connection with reminiscence therapy are particularly relevant.

Lecture 16 (16:00–17:30)

Summary of the Training and Opportunities for Further Professional Development

Content:

During the closing session, participants will present the questions, experiences and cases that arose while applying the methodologies introduced during the training in their own clinical practice. The supervision-style discussion provides an opportunity for feedback and collaborative reflection.

We will summarise the knowledge and skills acquired during the training and review opportunities for further professional development, including advanced training programmes, supervision groups and professional communities. Participants will receive a bibliography and a practical guide to support the independent application of the method.

Block 1 (9:00–10:30)

Theory and Practice of the Mentalizing Stance

Presenter: Susenka Eszter

Content:

The concept and development of mentalization will be explored through a review of key milestones in its history and its role in psychopathology. We will highlight the core attitudes of the mentalizing therapist, with particular emphasis on the “not-knowing” stance and genuine, interested curiosity. Participants will gain insight into pre-mentalizing modes and receive practical tools for restoring mentalization in the therapeutic “here and now.” The session will be interactive, using participants’ experiences, difficulties and related questions to translate the key elements of the mentalizing stance into clinical practice.

Block 2 (10:45–12:15)

Dimensions of Mentalization and Issues of Epistemic Trust in Therapeutic Work

Presenter: Susenka Eszter

Content:

The four main dimensions of mentalization—automatic versus controlled, self versus other, cognitive versus affective, and internal versus external—help identify where the patient’s capacity to mentalize breaks down. One of the aims of therapy is to recognise and correct these imbalances.

Particular attention will be given to the concept of epistemic trust: how to create a therapeutic space in which the client can relinquish their “epistemic isolation” and become open to new knowledge. The session will also introduce the phenomenon of decentring, helping therapists recognise the client’s movement between the agentic “I,” the passive “Me,” and the “We” state that represents shared intentionality. In the practical section, we will examine how rigidity between the dimensions can contribute to psychopathology and how flexible thinking can be relearned.

Block 3 (13:15–14:45)

Challenges and Opportunities in Mentalization-Based Therapy and Adolescent-Specific Considerations in Mentalization-Based Treatments

Presenter: Erika Pap

Content:

Mentalization breaks down under stress, intense emotions or activation of the attachment system, resulting in a regression to pre-mentalizing modes: psychic equivalence, teleological mode and pretend mode. The therapist’s task is to recognise these moments and help the patient restore their capacity to mentalize.

Adolescence is a particularly vulnerable period in terms of mentalization: the reorganisation of the brain’s prefrontal regions, heightened emotional reactivity and the search for identity all present significant challenges. MBT-A takes these developmental characteristics into account and adapts its interventions accordingly.

In therapy with adolescents, establishing a collaborative relationship, maintaining motivation and mentalizing peer relationships are of particular importance. During the lecture, we will review MBT-A-specific techniques and interventions that have proven effective in work with adolescents.

Block 4 (15:00–16:30)

Key Characteristics of Working with Parents and Families in MBT-A Treatment

Presenter: Erika Pap

Content:

One of the core principles of MBT-A is that an adolescent’s therapy cannot be separated from the family context. Involving parents not only strengthens the therapeutic alliance, but also creates an opportunity to develop their own capacity to mentalize, which in turn has a direct impact on the adolescent’s mental health.

During the session, we will examine the core principles of MBT-F (Mentalization-Based Treatment for Families), the impact of parental stress and parents’ own attachment patterns on the parent–child relationship, and the techniques that support the restoration of mentalizing between family members. We will also address conflict management, mentalizing around boundaries, and the reworking of family narratives.

Bateman, A., & Fonagy, P. (2016). Mentalization-Based Treatment for Personality Disorders: A Practical Guide. Oxford University Press.

Bateman, A., & Fonagy, P. (2021). A mentalizáció alapú terápia kézikönyve. Oriold és Társai Kiadó.

Fonagy, P., Gergely, G., Jurist, E. L., & Target, M. (2002). Affect Regulation, Mentalization, and the Development of the Self. Other Press.

Fonagy, P., Gergely, Gy., Jurist, E. L., & Target, M. (2020). Affektusszabályozás, mentalizáció és a self fejlődése. Oriold és Társai Kiadó.

Midgley, N., & Vrouva, I. (Eds.). (2012). Minding the Child: Mentalization-Based Interventions with Children, Young People and their Families. Routledge

Allen, J. G., Fonagy, P., & Bateman, A. W. (2008). Mentalizing in Clinical Practice. American Psychiatric Publishing.

Rossouw, T. I., & Fonagy, P. (2012). Mentalization-based treatment for self-harm in adolescents: A randomized controlled trial. Journal of the American Academy of Child & Adolescent Psychiatry, 51(12), 1304–1313.

Bleiberg, E., Rossouw, T., & Fonagy, P. (2012). Adolescent breakdown and emerging borderline personality disorder. In A. Bateman & P. Fonagy (Eds.), Handbook of Mentalizing in Mental Health Practice (pp. 463–509). American Psychiatric Publishing.

Bevington, D., Fuggle, P., Fonagy, P., Target, M., & Asen, E. (2013). Innovations in practice: Adolescent Mentalization-Based Integrative Therapy (AMBIT). Child and Adolescent Mental Health, 18(1), 46–51.

Lecture 1 (9:00–10:30)

Characteristics of the Rorschach Test in Children; Specific Considerations in Test Administration and Interpretation with Children and Adolescents – Normative Rorschach Features at Different Ages, Taking Children’s Developmental Characteristics into Account

Presenter: Diána Horváth – child and adolescent clinical and mental health psychologist

Content:

The use of the Rorschach test with children requires a specialised approach, as children’s psychological functioning differs from that of adults in many respects. Their responses reflect their level of cognitive development, emotional maturation and the current stage of personality development.

During the lecture, we will review the normative characteristics of children’s Rorschach responses across different age groups, taking into account the developmental features typically associated with each stage. We will examine how the quantity and quality of responses, localisation, use of form and content categories change over the course of development.

During the lecture, we will examine the optimal conditions for test administration, the formulation of child-friendly instructions, and the specific considerations involved in the inquiry phase.

Lecture 2 (11:00–12:30)

Psychodiagnostic Assessment of Children and Adolescents Using the Rorschach Test – Clinical Questions, Psychopathology and Developmental Impasses

Content:

The Rorschach test is a valuable tool in the psychodiagnostic assessment of children and adolescents, providing insight into the structural and dynamic aspects of personality. It is particularly useful in cases where the child’s verbal expressive abilities are limited or where conscious self-report may be distorted.

During the lecture, we will review how the Rorschach test can be used to address a range of clinical questions, including the assessment of emotional regulation, thought processes, ego functions, relational patterns and the individual’s relationship to reality. We will examine which features indicate difficulties in age-specific developmental tasks and which constellations suggest pathological conditions.

Lecture 3 (13:30–15:00 p.m.)

Principles of Interpretation and Clinical Case Presentation

Content:

The interpretation of the Rorschach test in children requires an integrative approach that takes developmental norms, the clinical context and individual characteristics into account. Alongside quantitative indicators, qualitative analysis also plays a central role in interpretation.

During the lecture, we will become familiar with the steps of interpretation, from the structural summary through content analysis to sequence analysis. We will review the most important indicators and clusters, together with their developmental implications. Particular attention will be paid to distinguishing pathological indicators from developmental characteristics, as well as to considering cultural and socioeconomic factors.

We will examine the role of the test within the comprehensive diagnostic process and the possibilities for combining it with other assessment methods.

Lecture 4 (15:15–16:45)

Clinical Case Presentation

Content:

In the final block of the training, we will integrate the knowledge acquired throughout the day through detailed analyses of clinical cases. The cases presented will represent different age groups and diagnostic questions, including anxiety disorders, mood disorders, behavioural problems, developmental disorders and trauma.

During the case presentations, we will follow the entire diagnostic process, from the referral question through test administration and coding to interpretation and clinical conclusions. Participants will have the opportunity to formulate and discuss their own interpretative hypotheses, thereby deepening their practical application skills.

Angol nyelvű alapművek:

Exner, J. E., & Weiner, I. B. (1995). The Rorschach: A Comprehensive System. Volume 3: Assessment of Children and Adolescents (2nd ed.). John Wiley & Sons.

Meyer, G. J., Viglione, D. J., Mihura, J. L., Erard, R. E., & Erdberg, P. (2011). Rorschach Performance Assessment System: Administration, Coding, Interpretation, and Technical Manual. Rorschach Performance Assessment System, LLC.

Tibon-Czopp, S., & Weiner, I. B. (2016). Rorschach Assessment of Adolescents: Theory, Research, and Practice. Springer.

Weiner, I. B. (2003). Principles of Rorschach Interpretation (2nd ed.). Lawrence Erlbaum Associates.

Magyar nyelvű alapművek:

Mérei, F. (2002). A Rorschach-próba. Medicina Könyvkiadó.

Szakács, F., & Kulcsár, Zs. (2001). Személyiségpszichológia. Tankönyvkiadó.