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July 2008
Using the Communicube in family therapy:
See a new article "Involving Children Playfully in Family Therapy" by John Casson and David Steare, published in Context, the magasine for family therapy and systemic practice in the UK. No. 97, June 2008.
The authors wish to acknowledge that Drew Bird, dramatherapist, contributed to the development of this paper. It is published on this website through kind permission of Context magasine.
Download the full article.

Using the Communicube in supervision
- Psychodrama, A passion for action and non-action in Supervision
I am grateful for Anna Chesner's permission to reproduce a section from her chapter 7 published in:
Shohet, R. (Ed.) (2008) Passionate Supervision, London, Jessica Kingsley

In this section she describes her use of the Communicube in Supervision.
Download the file.

December 2005
The Communicube with young people who are deaf and hard of hearing
Martin Gill, dramatherapist, has used the communicube with young people who are deaf and hard of hearing. "I have been offering dramatherapy assessments for young people who have
moderate to severe hearing loss. Many of these young people have been identified as having developmental difficulties due to the barriers to communication they experienced in their early years. Group story telling and imaginative play therefore have a beneficial effect for this client group.

The communicube was used as a story telling tool with the central square as the last 'tellers' move. The group sat around the central visual focus of the structure and this was very well suited to the deaf and hard of hearing participants. Visual en-face clarity when speaking or sharing is a prerequisite for good communication practice with these clients. In one exercise the group was asked to create a story using toy figures. The stories  tended to be of the magical healing and the rescue of a central protagonist who was lost.

On one occasion a young man of 15 explored ideas about his future career. It became clear that he had rather grandious expectations. He said that he envisaged himself lying on a beach surrounded by women in bikinis soon after completing his A levels and degree. Other players were able to affirm his intention to do well with his studies but invited him to consider how our
fantasies about wealth and abundance were sometimes ungrounded. The game was therefore used as a tool for looking at future expectations. Furthermore the work with the communicube has flagged up some self-esteem problems and this has led to additional counselling being made available to this client. In conclusion: the Communicube, being a visual tool, offers both diagnostic and treatment possibilities for deaf and hard of hearing young people."

Using the communicube with young people who are close to permanent exclusion from school

Jo Christensen, dramatherapist, works with young people who are close to permanent exclusion from mainstream schools and has been researching the use of the Communicube for her M.A. at Plymouth University.

Jo Christensen, has researched the use of the Five Story Self Structure and Story Making with troubled adolescents who are struggling at school. She describes how Lucy chose buttons to represent members of a family. She placed the buttons carefully into the structure as she created a ‘perfect’ family, moving the buttons around as she told a tale about an idealised day on the beach. Christensen writes:

“At the end of the story I invited Lucy to view the structure from above and comment on the relationships she could see between the different members of the family. Lucy made a couple of comments but continued to uphold the notion of an ideal family. I asked her if she could see anything else in the structure. Lucy looked carefully. When Lucy spoke her voice was lower. She shared that she was able to see other people. Each member of the family (button) cast a reflection on the structure and it was these reflections that held the ‘shadow’ family. Lucy was able to consider a very different family dynamic that existed in the ‘shadow’ family. Relationships were much more difficult and there was less movement around the structure. At times sharing the stories of the ‘shadow’ family appeared to be very uncomfortable for Lucy. Yet it was through this work that she was able to communicate a far from ideal family. Lucy could work safely using this method knowing she did not have to reveal which aspects belonged to her real family and which aspects belonged to the family she desired. The structure by its very nature could contain both the good and the bad.”


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