Citation:
Lay, Ronald P.M.H. ''Beads, bees, glitter and perversion: Forensic art therapy with older adults.'' Arts therapies and sexual offending, edited by Simon Hastilow, and Marian Liebmann, London, Jessica Kingsley, 2021, pp. 179-194, ISBN / ISSN: 978-1787750647.

This book shows how art therapists can use found objects in their work with clients. Found objects can be a highly affordable, imaginative and creative way of working, and are particularly effective when working with marginalised populations and clients who have experienced trauma. This edited collection contains chapters from a wide variety of contributors from around the world and covers a vast array of topics, including the use of found objects in clinical settings, community and art practice, pedagogy and self-care.

Citation:
Wong, Daniel, and Ronald Lay. ''Found Objects in Art Therapy Pedagogy: Significant Trajectories of Our Practice.'' Found Objects in Art Therapy: Materials and Process, edited by Daniel Wong, and Ronald Lay, London, Jessica Kingsley Publishers, 2021, pp. 231-249, ISBN / ISSN: 9781785926914.

Citation:
Lay, Ronald. ''Tension: Balancing Self-Care with Professional Practice During and After a Workplace Tragedy.'' Found Objects: Materials and Process, edited by Daniel Wong, and Ronald Lay, London, Jessica Kingsley Publishers, 2021, pp. 165-177, ISBN / ISSN: 9781785926914.

Citation:
Wong, Daniel. ''Materials: Potential and Found Objects.'' Found Objects in Art Therapy: Materials and Process, edited by Daniel Wong, and Ronald Lay, London, Jessica Kingsley Publishers, 2021, pp. 25-38, ISBN / ISSN: 9781785926914.

Confronted by catastrophic circumstances, such as the complexities instigated by COVID-19 and the global pandemic, art therapists naturally interpreted this as an opportunity to effectively evidence their resiliency, innovation, compassion and, indeed, their creativity. This article prioritises the practice and training of art therapy, and explores how the unprecedented circumstances we currently find ourselves in have needed the discipline to evolve in ways that ensures the continuation of the overall integrity, best practices, ethics, and expected standards.

The common perception that Afghanistan is devoid of culture due to the extremely conservative ideology left behind by the Taliban is far from the truth. This trope which I call cultural desertification is part of a larger matrix enmeshed by international relations and postcolonial re-imaginings.

South-East Asia is a region rich in cultural diversity and dynamic in its creativity. There is a great potential for the countries of the region to capitalize on their cultural resources and their dynamic young populations to gear toward the creative economy and fully realize the role of culture in achieving sustainable development.

This paper argues that the interconnection between physicality, digitality, and sustainability can be considered as a general parameter in the training of global actors. The argument considers this interconnection in relation to 21st-century globalization, the fourth industrial revolution, digital applications, China’s belt and road initiatives, and impending ecological crises. Specifically, the presentation explores the vision for training global actors as it is put into practice at the School of Dance and Theatre of LASALLE College of the Arts in Singapore.

Wth a twisted and long prologue that was ignored by the so-called world leaders for the longest time, on March 11, 2020, the World Health Organisation declared COVID-19 a global pandemic. By the end of the month, most countries in the world had closed their borders and went on lockdown or imposed quasi-lockdown measures. Entire sectors of global economy shut down; global supply chains disrupted; transoceanic maritime trade halted; oil trading ceased. The situation was uncanny to the extent that only comparisons were suitable as a way to fathom the experience. And yet, comparisons failed.