Creative versus repetitive dance therapies to reduce the impact of fibromyalgia and pain: A systematic review and meta-analysis

Background and purposePhysical exercise is one of the most effective interventions to reduce fibromyalgia symptoms. Previous studies have reported benefits of dance-based intervention on the fibromyalgia impact, health-related quality of life and pain, regardless the interventions were based on creative- or repetitive dance. This study aimed to compare the effectiveness of creative and repetitive dance interventions.MethodsPRISMA guidelines were followed in this systematic review. The Cochrane Library, PubMed, Trip, Google Scholar, Web of Science (WOS), Embase and Scopus databases were selected to identify potential articles. Studies were included if they met the following inclusion criteria: to be a clinical trial or a randomized controlled trial, include people with fibromyalgia, have a comparison group and evaluate the impact of the disease, pain or quality of life. Fifteen articles fulfilled the inclusion criteria. The methodological quality of the studies was assessed using the Cochrane Collaboration's tool.ResultsDance-based interventions significantly reduced fibromyalgia impact (standardized mean difference = −0.69), pain (standardized mean difference = −0.70 and increased quality of life (standardized mean difference = 0.43) of people with fibromyalgia. The effectiveness of dance interventions is increased when a creative component is added, since it can lead to higher improvements in pain, impact of the disease and improving quality of life.ConclusionDance-based interventions are significantly effective in reducing the impact of fibromyalgia, pain as well as increasing health-related quality of life. Subgroup analyses suggest that creative dance-based interventions could be more effective than repetitive dance-based interventions to reduce pain and fibromyalgia impact. However, results must be taken with caution due to the large heterogeneity and the small number of articles.     

Essentially Winnicott: Creating Psychic Health

The authors of this paper recognize the paradox of identifying with the body of work of D. W. Winnicott as it was essential to his view that each analyst has to become the analyst s/he is or can be. This is to avoid the dead hand of conformity and falsity. Nevertheless his work continues to inspire creative use with its concern with health and those conditions for its development. Both authors find themselves committed to history taking, to needing and taking time, to a willingness to wait before interpreting, to a recognition that the self derives originally from a bodily state of unintegration, that the body remains significant for the expression of self‐states, to an understanding of aggression as not primarily associated with destructiveness, to attending to the state of mind in the analyst that encourages the establishment and maintenance of the analytic setting. Clinically their intention is to maintain a continuity within which psychic change can be facilitated, through an attention to the ongoing exchanges between both parties of the analytic relation. Several clinical examples are given from different settings to illustrate the presence of these tenets in their work.     

La passion du soin et du travail psychiques,un paradoxe ?

Is passion, a concept difficult to define, disturbing affect by its double emotional and representative dimension, “a normal pathological state”? It concerns any relation to an “object” that wants to occupy a considerable place in existence. Can a therapist be passionate or be crossed by passion? Whether it is cultural, artistic, sporting, passion can provoke, we know it well, a passionate outburst. How can one accept its necessity while being wary of its destructive side (mystical passion, delusional passion) where the subject ends up getting lost? Etymology may provide a partial response to the polysemy of the word that has created confusion. Passion comes from the Latin “passio” which refers to the fact of suffering, experiencing. The Greek root “pathos” gave pathology whose original meaning is the study of passions and then that of diseases, and also non-medical terms (pathetic…). The semantic confusion has been based on this for centuries. Passion remains difficult to pin down. What maintains my desire, my passion in this solitary work? I need to remain in the unceasing research, in the questioning. Here are the basics inscribed in me: reading, working meetings that bring pleasure to think while maintaining openness to the unconscious by better grasping the counter-transference, belonging to a society to share the same passion of human knowledge and the same desire to heal. Passions remain pervasive and some take up more space than the object of passion. This is one of the many paradoxes. An other: the passion, this “dark complacency to vertigo” (Paul Ricoeur), allows to alienate oneself in the bond to better find oneself, to recreate oneself. We cannot, escape knowledge about ourselves. Beyond its excess, constitutes a real psychic work of elaboration and symbolization. Let us keep alive this passion for psychic care and work. To do this, let us remain confident in our theoretic-clinical commitments as well as in the changes we deem necessary to help those who come to tell us about their suffering. Who are they? Interest in their own mental health is initially acquired for neurotic patients; it is legitimate and useful. With patients working on a psychotic register, this is not the case and we are faced with an obstacle cited by Marcel Sassolas, which is “the distrust developed by these people towards their own psychic activity”. The only real objective of psychiatric care remains the safeguarding and restoration of their psychic activity, knowing full well that being present is a source of danger. What maintains our desire for care and psychic work with the attention we pay to it? The way we work with the richness of the commitments it unders understands – psychoanalysis for me – allows us to understand the human in an exceptional and exciting way. Here are two of my tools. First empathy. It is a dialectic between understanding and feeling that manifests, occurs, in an unseeded manner at the level of the preconscious of one (therapist) or the other (patient). My other tool is this therapeutic device that is co-work (shared associative movement). Daniel Widlöcher's co-thought… The latter has taken up the Freudian concept of “induction of thought”. This allows him to link empathy, through “the transfer of thought”, to the associative and representational co-thinking of the therapist and the patient. What is this co-work? In psychoanalytic relaxation, for example, we know that a particular word, a phrase, a phoneme can have, for the relaxer, an emotional impact that is inscribed in his thought (reverie) and in his body (sensation). Passion allows creative psychic care by producing from living. It strengthens our need for new projects that boost our motivation and confidence. It maintains our desire to be at the heart of psychic work and that of transmitting that strength. Creativity is not the ability to create a work, it is the ability to creatively live a meaningful life (Winnicott). It is vitality in the service of self-building. Stay alive and passionate, even late in practice, not because of knowledge, experience, but because of the uninterrupted work in self-discovery. To conclude? I consider that a living therapeutic process, that is, subjective appropriation, implies a passionate character in the therapist who offers a place for what is to be deposited there. We are often in paradoxical situations. To better understand its scope, I rely on the Oxford Dictionary's definition: a paradox is an assertion that seems absurd, though maybe truly well-founded. It's all in the maybe. Isn’t the psyche that heals the psyche the passion of dialogue with our unconscious?     

L’évasion créatrice des geôles corporelles

The present work aims to understand the creative impetus that has sometimes been described in response to one's body being paralysed. When this occurs the individuals experience many internal disruptions, and therefore need to find a new psychological equilibrium. How do they find a way to rebuild themselves? How and why create, when the body has been changed, mutilated, disabled, and when the slightest movement in everyday life becomes difficult? How can we understand this creative escape?Method and resultsThrough many now recognized artists’ work, such as those of Joe Bousquet, Frida Kahlo, Grand Corps Malade, Guilaume de Fonclare, and Jean-Dominique Bauby, we illustrate the way in which some authors have developed a rich imagination and operated fabulous creative processes. In line with the relational psychosomatic approach of Sami-Ali, this article aims to detail the various aspects that “the creative escape” may cover, by exposing the concepts of intellectual escape, escape by reverie and escape by sentimental idyll.Discussion and ConclusionThis paper presents an original approach to the experiences of those who have become paralysed and have developed an outstanding creative energy. The body becomes an object of fiction, true support of creative activity. In addition, our work finds the concept of the creation as a psychosomatic act, through the notions of passage from the commonplace to the imaginary, mutual inclusion and physical dead end.     

In search of Aristotle: temperament, human nature, melancholia, creativity and eminence

Is suffering associated with melancholia and "madness" necessary for artistic creativity and eminence? Or do creativity and leadership have something to do with the temperaments associated with affective disease? We integrate concepts dating back to Greek psychological medicine and philosophy--especially work attributed to Aristotle--with modern data-based examination of the role of cyclothymic and related temperaments in the interface between mixity, the bipolar spectrum and normality. We place our query within the general framework of evolutionary biology and human nature. In doing so, we propose that affective disease--including mania and associated psychotic states--exist because they serve as the genetic reservoir for adaptive temperaments and the genes for genius. Affective disorder can therefore be regarded as the price of exceptional greatness. Thus, creative and eminent individuals, by virtue of their being exceptional, occupy a somewhat unstable terrain between temperament and affective disease.     

Enhanced creativity in bipolar disorder patients: a controlled study

OBJECTIVE: Associations between eminent creativity and bipolar disorders have been reported, but there are few data relating non-eminent creativity to bipolar disorders in clinical samples. We assessed non-eminent creativity in euthymic bipolar (BP) and unipolar major depressive disorder (MDD) patients, creative discipline controls (CC), and healthy controls (HC). METHODS: 49 BP, 25 MDD, 32 CC, and 47 HC (all euthymic) completed four creativity measures yielding six parameters: the Barron-Welsh Art Scale (BWAS-Total, and two subscales, BWAS-Dislike and BWAS-Like), the Adjective Check List Creative Personality Scale (ACL-CPS), and the Torrance Tests of Creative Thinking--Figural (TTCT-F) and Verbal (TTCT-V) versions. Mean scores on these instruments were compared across groups. RESULTS: BP and CC (but not MDD) compared to HC scored significantly higher on BWAS-Total (45% and 48% higher, respectively) and BWAS-Dislike (90% and 88% higher, respectively), but not on BWAS-Like. CC compared to MDD scored significantly higher (12% higher) on TTCT-F. For all other comparisons, creativity scores did not differ significantly between groups. CONCLUSIONS: We found BP and CC (but not MDD) had similarly enhanced creativity on the BWAS-Total (driven by an increase on the BWAS-Dislike) compared to HC. Further studies are needed to determine the mechanisms of enhanced creativity and how it relates to clinical (e.g. temperament, mood, and medication status) and preclinical (e.g. visual and affective processing substrates) parameters.     

Le vieillissement supposé des images

The collections created by patients that in the past were locked up until death, and the few spontaneous productions by characters who shut themselves away, but whose pieces of work are being discovered by chance still today (Jeannot's floorboard, work by Henri Darger), are distinguishing by their consistency, whilst the evolution of medical care for patients with psychotic disorders allow gifted teenagers eager to make a career in arts and exhibit their paintings, to express themselves in diversified ways e.g. frequency of self-portraits, incompletion, etc. Even though images allegedly convey a sense of maturation, this representation is to be found amid themes dictated by modernity which are substituting subject matters that are no longer topical for painting.     

医学新生儿童期心理虐待与创造力、认知偏差的调查分析

目的:了解海南医学新生的儿童心理虐待状况;比较不同创造力、认知偏差类型的学生的儿童期心理虐待差异。方法:方便取样,采用儿童心理虐待量表、卡特尔多项人格量表-创造力、认知偏差问卷对365名自愿参与的海南省某医学院临床医学专业2014级新生进行测量,对数据进行t检验和方差分析。结果:男生的恐吓、贬损、干涉、纵容维度得分高于女生(t=2.38,2.17,2.40,2.72;P均0.05);独生子女医学新生的忽视维度得分低于非独生子女者,而干涉维度得分高于后者(t=-3.82,2.17;P均0.05);单亲家庭医学新生的忽视和贬损维度得分高于非单亲学生(t=2.80,3.24;P均0.05)。不同创造力等级的医学新生在儿童心理虐待得分上的差异无统计学意义。不同认知偏差类型的医学新生在贬损、干涉维度得分上的差异均有统计学意义(F=10.92,13.54;P均0.001)。结论:不同性别、是否独生、是否单亲的医学新生在儿童期遭受的心理虐待不一样;不同创造力的医学新生在儿童期遭受的心理虐待无差异;不同认知偏差类型的医学新生在童年期遭受的贬损和干涉高于其他类型者。     

医院建筑创意的黏性——以两家医院设计实践为例

介绍了创意黏性这一概念,并通过两家医院建设实践案例,阐述了创意产生黏性的原则及在医院建筑设计创作中的应用,赋予了医院建筑作品灵魂.