ciations for dance, music, and drama therapies as well as for therapy employing the visual arts. Although, since these are still emerging fields (even though they have existed for such a long time), there are many employers, including psychiatrists and special schools that use the term art therapist to refer to many people even though "no similar educational preparation, no set of qualifications, nor even any voluntary association binds [them] together" (Ulman, 2001, p. 16).
The problems of certification and general recognition for qualifications are being addressed by the American Art Therapy Association and a number of educational institutions have begun to offer certification in the various specialties. But one of the drawbacks is the historical split, at least for visual-arts therapists, that has existed between those who place greater emphasis on art and those who make therapy their central concern. The latter group, which believes that "preoccupation with artistic goals must be minimized in favor of a specialized form of psychotherapy" consists mainly of psychoanalysts (Ulman, 2001, p. 17). In the forties and fifties Margaret Naumberg theorized about the relationship between analysis and art therapy, arguing that this approach was valuable since the unconscious was released in spontaneous art making and the images the patient made were a form of communication between patient and therapist. Art-making enabled the direct expression of the material of dreams, fantasies and other internalized experiences as pictures or shapes and such material was far less likely to be censored by the patient's conscious mind. Art therapy is still employed in this fashion as an adjunct to analytic treatment. But this concept has also had a considerable impact on the broader field. In an informal survey of thirty art therapists, for example, Ulman discovered that nearly half of these professionals (most of whom worked as part of psychiatric...