volume 17, number 2, 2022
Published by The Journal of Creative Arts Therapies, the online and open access publication of ANZACATA.
© 2022. Each work published in JoCAT is licensed under a CC BY-NC-ND-4.0 license.
ISSN: 2652-9459
JoCAT is a Gold Open Access journal. Due to the funding provided by ANZACATA, JoCAT is freely available, and contributors are not charged open access fees. Individual authors and creators retain copyright of their work and grant access under a Creative Commons licence. The contributions published in JoCAT can be downloaded, reproduced, displayed, performed and/or shared, for non-commercial purposes only, without prior permission, on the express condition that the content is not altered in any way and is properly and fully attributed to individual authors, creators and the journal. Other rights such as publicity, privacy or moral rights may also limit how you use the material. Our authors and creators, and the integrity of their scholarly and creative work, must always be acknowledged and respected.
Opinions of contributors are not necessarily those of the publisher. The publisher expects authors to comply, makes no representation or warranty that the information contained in articles is accurate, nor accepts liability or responsibility for any action arising out of information contained in this journal.
JoCAT is the open access peer-reviewed scholarly journal of the Australian, New Zealand and Asian Creative Arts Therapies Association (ANZACATA). JoCAT is the home of the creative arts therapies research community and is produced with Western Sydney University.
Editorial team
Chief Editor Sheridan Linnell
Co-Editors Stacey Bush, Catherine Camden-Pratt, Deborah Green
Arts Editor and Journal Coordinator Vic Segedin
Copy Editors / Proofreaders Anne Gordon, Marie Shannon
Design and production Vic Segedin
Peer review
The editorial team wishes to thank all the peer reviewers who generously contribute their time and expertise to this edition of JoCAT. Accepted submissions are reviewed by people well versed and respected in the subject or methodology of the submission.
The following have been double anonymously peer-reviewed by two reviewers:
Articles:
‘Becoming friends: Or the moment when dialogue with a drawing led to a form of self-connection during an art therapy session’ by Christoph Hinkel.
‘Imprinted memories: An arts-based inquiry’ by Melinda Jane.
‘Using art therapy to explore researcher identity as a prelude to dysgraphia study: An autoethnography’ by Elvira Kalenjuk, Pearl Subban, Stella Laletas and Sue Wilson.
‘A role for art therapy in buffering the effects of stress and reducing burnout amongst childcare workers: Results of a group art therapy intervention pilot study’ by Leticia Martin et al.
‘Neurodivergent-affirming therapeutic arts practice’ by Freya Pinney.
‘Phenomenology and dance therapy: The body as an organ of cognition’ by Ursula Schorn.
‘Seeds of growth: Improving cultural competence as an immigrant arts therapist’ by Ying (Ingrid) Wang.
The following have been double anonymously peer-reviewed by one reviewer:
Creative contributions:
‘Emotional patterning: A comic essay’ by Sofia Sabbagh.
‘Meditative mark-making: A flow in chaos’ by Li June Han.
