ART AS A MINDFULNESS PRACTICE A Dissertation Presented to the faculty of Antioch University

205 Pages·2017·4.93 MB·English

ART AS A MINDFULNESS PRACTICE

A Dissertation

Presented to the faculty of

Antioch University Seattle

Seattle, WA

In Partial Fulfillment

of the Requirements of the Degree

Doctor of Psychology

By

Amaris Espinosa

August 2018
ART AS A MINDFULNESS PRACTICE

This dissertation, by Amaris Espinosa, has
been approved by the committee members signed below who
recommend that it be accepted by the faculty of the Antioch University
Seattle at Seattle, WA in partial fulfillment of the requirements for the
degree of

DOCTOR OF PSYCHOLOGY

Dissertation Committee:

________________________________
William Heusler, Psy.D.
Chairperson

________________________________
Fransing Daisy, Ph.D.

_________________________________
Katherine Fort, Ph.D.

_________________________________
May 31, 2018

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© Copyright by Amaris Espinosa, 2018

All Rights Reserved

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Abstract
The use of mindfulness-based interventions in health, education, and psychology have
dramatically increased in the last two decades. Art, as a reflection of the internal and external
processes, is one of the key features of humanity. However, art as a mindfulness-based
intervention remains underrepresented and under-researched in the mindfulness literature. This
is surprising given the role of art across culture, religion, and philosophy. Art is used to explore
concepts of self and self-refection, as well as to train attention and awareness. Art is also used to
explore relationships and engage in meaning-making. There is little evidence of why art was not
included in original mindfulness-based curriculums. This investigation explored the potential
relevance of art-based interventions and created and piloted an art-based mindfulness curriculum
as a solution to address the apparent gap in the literature. The purpose of this investigation was
to create a curriculum of mental health interventions using art as a mindfulness practice. This
investigation is based on a pilot study where art was used as a mindfulness-based intervention
aimed to reduce stress and headache in adolescent girls (Espinosa, 2015). The curriculum
presented is based on findings from the pilot study including the successes, challenges, and
progress of the intervention which has evolved through clinical practice. The most recent
version of the curriculum aims to reduce stress and address a range of mental health concerns
found in clinical and educational settings. It is anticipated that this curriculum will be explored
in future research using art both as the mindfulness practice in and of itself, and also as an
adjunct to mindfulness-based curriculums. This dissertation is available in open access at
AURA, http://aura.antioch.edu/ and Ohio Link ETD Center, https://etd.ohiolink.edu/
Keywords: Mindfulness, Art, Meditation, Art Therapy, Hózhó, Mindfulness
Interventions, Mindfulness-Based Art Therapy
Dedication
To my spiritual ancestors, all my teachers near and far, the future generations, and all the
beings, research participants, and patients whom I have had the great privilege and honor to work
with. Their energy, courage, and beauty shaped this work.

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Acknowledgments
To all these beautiful beings whose love and support nourished me and made this journey
possible which include my ancestors, family, and friends: my Great-Grandfather and my Great-
Grandmother Lorraine, Alicia, Alina, Luna Matisse, Luke, Charisma, Eva, Isaiah, Winnie, Sirius,
Megan Voss-Stevens, Michelle Elm, Kelly Voss, everyone in the Elm Realm, Colin Rydell,
Kevin, Moriah, Susan Pelletier, Susie Marks and Jamie Clayton, Brigett, Jari, Lisa and Heather,
Cailin Qualliotine, Jennifer Sveund, Leslie LaFleur, Adrian Garcia, Nicolet, Cleopatra & Brent,
Cindy, & the Coughlin family.
A special thanks to art therapist and friend Nicola Mucci when after sharing my dream of
combining mediation and art, told it was possible and in some form already existed, Mindfulness
Based Art Therapy (MBAT). As a result I was able to pursue MBAT training and certification
and felt this dream ever more possible. I would also like to thank Caedy Young whose tireless
efforts, compassion, and editing suggestions felt like the joy of a fairy godmother magically
tiding up this body of work.
I want to express deep gratitude to all of my teachers near and far: Michael Buchert, Pia
Mellody, His Holiness the Dalai Lama, Evan Thompson, Thupten Jinpa, Tara Brach, Sharon
Salzberg, Mary Oliver, Katy Wells, Jari, Roshi Joan Halifax, Dr. Marion Cauldron, Dr. Alex
Suarez, Dr. Tricia Teneycke, and Diane Hetrick. I would like to thank Fransing Daisy for her
thoughtfulness, deep guidance and mentorship, and ever present compassionate throughout the
entire body of this work. I have been blessed by her presence in this field! I would also like to
thank Katherine Fort for her curiosity, joy, and clear vision throughout the body of this work. A
special thanks to Jon Kabat-Zinn, whose original work of Mindfulness-Based Stress Reduction
has been a great inspiration to me regarding the Western application of Eastern practices.
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To the many beings at Vajra Yogini Institute in Marzens, France that made the deepening
of this work more accessible: Francois Lecointre and Violette Pliot Lecointre, Robina Courtin,
Master thangka painter and dear friend Peter Iseli, Brigette, Lama Thubten Yeshe, Yangsi
Rinpoche, Ganden Tripa Jangste Choje Rinpoche, and Tulku Lobsang. I want to thank the many
Tibetan monks, including Jampa Dhanpa, who filled my days at the Pema T’sal monastery:
whose fluttering red robes, ancient prayers, and luminous qualities inspired the idea to combine
art, mindfulness and psychology long ago. Lastly, to the many poets and artists whose work and
lives have indicated to me that art is a way of being, as essential to the fibers of life as breath and
the beating heart.
It is my sincere hope that this work will be of benefit and of service. Sending out a
sincere wish for all sentient beings to be well, to be happy, and to be filled with loving-kindness.

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Table of Contents Page
Dedication………………...………………………………………………………………………iv
Acknowledgments…………………………………………………………………………………v
List of Tables……………………………………………………………………………………..ix
List of Figures……………………………………………………………………………………..x
Introduction………………………………………………………………………………………..1
Clinical, Empirical, and Historical Context of Mindfulness and the Contemplative Sciences…5
Mindfulness: A convergence between East and West……………………..…………………....7
Third Wave Therapies & Mindfulness………………………………………………………...16
What is Mindfulness and Where does it Come From………………………………………….24
Ethics & Mindfulness………………………………………………………………………….27
Considerations for Behavioral Sciences when Working with Cross-Cultural and Paradigm
Issues with the Consciousness Disciplines…………………………………………………....30
Pioneering Research on Mindfulness and Meditation………………………………………...31
Cultural Considerations of Early Research in Neuroscience………………………………….45
Contemplative Neuroscience and the Definition of Meditation………………………………52
Three Classifications of Meditation in Neuroscience…………………………………………55
Art as a Part of our Ancient Human History and Relevance in Mindfulness Research…………64
Art Process in Western Psychology…………………………………………………………...71
Mindfulness in Art Therapy…………………………………………………………………...74
Pilot Study: Mindfulness-Based Art Therapy Intervention to Treat Stress and Headache in
Adolescent Females……………………………………………………………………………...76
Adolescence, Transitions, and Development………………………………………………….76
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Psychosocial Factors and Stress………………………………………………………………77
Curriculum and Development of the Art as Mindfulness Intervention………………………….79
Rationale……………………………………………………………………………………...79
Hózhó: A Dine Wellness & Happiness Philosophy…………………………………………./82
Curriculum Structure and Content……………………………………………………………….86
Art as Mindfulness Curriculum……………………………………………………………….86
Session Content……………………………………………………………………………….88
Methodology……………………………………………………………………………………..91
Results……………………………………………………………………………………………95
Discussion………………………………………………………………………………………110
Summary and Outcomes……………………………………………………………………..110
Limitations and Challenges………………………………………………………………….113
Conclusion…………………………………………………………………………………...114
References………………………………………………………………………………………115
Appendix A: Art as Mindfulness Curriculum Manual…………………………………………131
Appendix B: Supplemental Materials…………………………………………………………..164
Appendix C: Pre- and Post-Meditation Art Practice Images…………………………………...172
Appendix D: Pre- and Post-Mindful Eating Exercise Images………………………………….181
Appendix E: Pre- and Post-Loving Kindness Meditation Images……………………………...190
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List of Tables Page
1. Categories, Themes, and Elements Derived From Pilot Study Data………………………….96

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