Abstract:
This work provides an overview of the current state of the tradition of natural yodelling in Appenzell
Innerrhoden and the factors which influence it. The methodology was a fieldstudy and a
phenomenological reduction supported by qda-Program. (qualitative data analysis)

A special form of singing exists in the region of Appenzell Innerrhoden : a text-less melody sung in
syllables called Rugguusseli. The author questions how knowledge and melodies are passed down.
The information was acquired in a field study of interviews with currently active yodellers. The
results were evaluated with phenomenological methodology.

The results further a hypothesis of family tradition in favour of a widely accepted custom referred
to here as social tradition. Peer and group customs frequent use of Rugguusseli at various events
and the emotional relationship to the melodies are deciding factors in its preservation. In Appenzell
Innerrhoden there are no such large events such as Silveschterchlause (a New Year’s ritual with
masks and yodeling). It is therefore interesting that the Rugguusseli is spontaneously sung at work
while meeting in restaurants during various social rituals and family celebrations or in concert at
shows and contests. This unique form of singing continues to remain a musical part of daily
language.

Melodies and accompaniments are memorized individually or by interactive repetition. Rugguusseli
has been since the 20th century preserved through technical media (sound recordings) and only
rarely fixed in written form. These are referred to in this work as medial tradition and play a most
important role alongside social tradition. The efforts of various yodelling associations and since
2003 the Foundation "Zentrum für Appenzellische Volksmusik" which gather the Rugguusseli for
performance or recording is remarkable. This in turn effects the quality and design of the
Rugguusseli.

Also addressed in regards to the phenomenon are less direct influences: cultural rituals
associations the landscape and human settlements.

Abstract:
The master thesis provides an insight into the world of ritual. The phenomenon of ritual is covered in its diversity and multi-functionality. The author returns to the roots of language looking for a broad and open definition and describes the individual elements and functions of ritual. The power and dynamics of ritual emerge.
Furthermore the influence of ritual on art is described. Which ritual elements do theatre the fine arts and dance draw on and what is the aim of art in doing so?
What strength lies in the aesthetics of performance? The interrelations between ritual art play and performance are in this way pinpointed and interconnections deduced.
The healing power of ritual is examined more closely in the third section. What happens in a healing ritual and what media are used? An understanding of health and healing is defined. Therapeutic settings also reference the power of ritual.
What ritual elements and functions are interesting for psychotherapy family therapy dance/movement therapy and expressive arts therapy?
In the last section the author draws his conclusions and indicates possibilities for contexts in which he considers the use and potential application of rituals to be constructive today. The intention is that the power of ritual performance should enrich and enchant our lives.

Abstract:
As Expressive Arts Therapists we deal with different aspects of outer and inner perception. With imagination and conception with intuition and inspiration. All of them phenomena that cannot be hold onto and that have their origin somewhere. As we go deeper into our work we gradually refine our perception and yet are amazed about so called co - incidences in - sights. May be we give them a name or we just unbelievingly shake our head.

I wanted to have a deeper understanding about refined perception. Therefore I have interviewed people who either have a very unusual fine perception or do research on it. The way I approached the material I got is rather the right brain way of an artist than the scientific way of
a scholar. On my path I followed questions about reality and phantasy. What I got was – among other – a teaching a training about the phenomenological approach.

Abstract:
As human beings we long for meaningful connections. This desire is in part due to the need to know our Self. We attend to this experience only in relationship to Other. We live in a diverse world where people continue to struggle to understand and accept differences of one another entire communities of people remain misperceived. This arts-based research explores the relationships within special populations primarily people living with epilepsy and the Deaf and Hard of Hearing Community and ways expressive arts elicits connection. Relationships influence how we experience World and art-making helps shape this learning.

Abstract:
The purpose of the Thesis is to study the possibillities to use Mask work in adolescent psychiatry within the framework of Expressive Arts therapy. The Thesis describes the arts therapy process of one adolescent psychiatry outpatient group during a five month period in 2007.
The Mask group was a mixed group of seven patients in adolescent psychiatry (both male and female). The patients were between 13 and 18 years of age. The group met 12 times once a week and the duration of one meeting was 75 minutes. The total duration of the therapy process was 15 hours. The group was lead by Arts therapist Janiika Salo and Specialist Sirpa Hunnakko.

Through the mask work we tried to offer the clients new ways to perceive their own persona though creative arts therapy work. The basis for this Thesis and the group activities has been the philosophical question: "Who am I?" The operating ideology of the group was based on Expressive Arts Therapy.

Expressive Arts Therapy (EXA) is based on an intermodal theory developed by Shaun McNiff and Paolo Knill among others. Exa combines imagery storytelling dance music drama poetry movement dreamwork and visual arts into way to promote development that fosters human growth. Expressive Arts Therapy means experiencing natural creative capacity and creative healing communality.

The removing masks from the faces Thesis contains three sections:
1.) Research of the basic theory of Expressive Arts Therapy.
2.) Description of the operational span of the Mask group and group process research section.
3.) The personal artistic process of the arts therapist which is described independently from the actual research (Artistic diary).

There is story and picture section at the end of Thesis which has been collected from the artistic material produced by the Mask group in order to truly include the hand of the young patients in this Thesis.