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Black Psychology: Children and Family Therapy

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By Michael E. Connor, Ph.D.
Professor Alliant International University and
Professor Emeritus CSULB

​When many/most folks think about psychology, they are likely thinking about clinical psychology—the branch which provides therapy and counseling. Some therapists may focus on children, others on adults, some on adolescents and others on geriatrics. The approaches, methodologies, interactions and parameters vary with each population. Additionally, some practitioners may work with individuals, some with groups; others with businesses; some with families or with an admixture of the above. A primary goal is to change thinking and activity in order to become more proficient, less stressed, more relaxed and more self-sufficient, which could result in more happiness and self-sufficiency.

A variety of techniques, procedures and processes are utilized, ranging from talk therapies to exercise to mindfulness training to medications (under the auspices of a medical doctor). The field of Black psychology has devoted itself to creating healing techniques and therapeutic practices design specifically for African American persons, families and community.

The focus on this month’s Critical Black Mental Health Issues is child and family therapy. When one considers the collective history and toxic context in which African American people were forced to live in the US, it is surprising that any of us have survived.

Yet, thousands have done so—this speaks directly of our (and our ancestors’) strengths, resolve, genius, and life lessons. However, living with constant stress and social toxicity too often results in physical and mental problems, including essential hypertension, diabetes, obesity, family violence, death at the hands of police, strokes, depression, anxiety, broken homes, the inability to care for self and others, and poor self esteem, to name a few.

All of this suggests the need for collaborative and culturally congruent healthy approaches to daily living which may include therapy.
​In Black psychology the major works of Akbari, Bynum, Kambon, Grills, Myers, Parham, White, etc. provide a treasure chest of theory and practice that can serve as the basis for understanding and repairing the dehumanization of African people. As Black Psychologists, we especially want to note that in considering therapy, Black people should keep in mind that all behavior occurs in a social-historical-cultural context. Given our culture, when working with younger children (those who cannot yet engage in abstract thinking), it is important to include parents, grandparents, caregivers and other engaged adults (in this sense, for Black people, all therapy should or could be viewed as a form of Family Therapy).

​In working with younger children, an approach I found most useful involved shaping and reinforcing desired behavior, using social reinforcement— while ignoring the undesired behavior (note, it is important to be aware of reasonable age appropriate child behaviors). In this model, primary caregivers are trained to observe the problematic behavior, to help determine appropriate preferred behavior and to reinforce approximations of that preferred behavior until the desired result is reached.
​Along with various therapies in Black psychology, it is important in this discussion to consider the following specific issues when working with Black children:

*Establish consistency in their lives—developing and maintaining a schedule (i.e., eating at the same time, going to bed at the same time (seven days a week), getting up at the same time, etc.);

*Engage and reinforce the child’s natural curiosity (answer questions, read to them share/discuss their history);

*Try not to confuse punishment with discipline;

*Do not “treat your kids the same”—rather get to know them and treat them “who they are;”
*Remember, fathers AND mothers have important roles to play in their children’s lives—kids need moms and dads;

*If possible, have an annual physical exam for your children—keep a copy of the results (mental health and physical health are related); and,

*Consistently, model appropriate behaviors for your child(

​ The ABPsi’s 50th Annual International Convention will be held June 27th-July 1st, 2018, at The Marriott Oakland City Center, in Oakland, CA. Come join this gathering of psychologists, university professors, educators, health care professionals, researchers, students and everyday folks and learn about children and family therapy designed for Black people.

The Bay Area Chapter of the ABPsi can be contacted at bayareaabpsi@gmail.com.

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Oakland Post: Week of April 8 – 14, 2026

The printed Weekly Edition of the Oakland Post: Week of April 8 – 14, 2026

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Oakland Post: Week of April 1 – 7, 2026

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Black Artists in America, Installation Three Wraps at the Dixon Gallery and Gardens

TRI-STATE DEFENDER — With 50+ paintings, sculptures and assemblages, the exhibit features artists like Varnette Honeywood from Los Angeles, whose pieces appeared in Bill Coby’s private collection (before they were auctioned off) and on “The Cosby Show.” Also included are works by Alonzo Davis, another Los Angeles artist who opened one of the first galleries there where Black Artists could exhibit. 

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By Candace A. Gray | Tri-State Defender

The tulips gleefully greet those who enter the gates at the Dixon Gallery & Gardens on an almost spring day. More than 650,000 bulbs of various hues are currently on display. And they are truly breathtaking.

Inside the gallery, and equally as breathtaking, is the “Black Artists in America, From the Bicentennial to September 11” exhibit, which runs through Sunday, March 29. This is the third installment of a three-part series that started years ago and illustrates part of the Black experience through visual arts in the 20th century.

“This story picks up where part two left off,’’ said Kevin Sharp, the Linda W. and S. Herbert Rhea director for the Dixon. “This era is when we really start to see the emergence of these important Black artists’ agency and freedom shine through. They start to say and express what they want to, and it was a really beautiful time.”

With 50+ paintings, sculptures and assemblages, the exhibit features artists like Varnette Honeywood from Los Angeles, whose pieces appeared in Bill Coby’s private collection (before they were auctioned off) and on “The Cosby Show.” Also included are works by Alonzo Davis, another Los Angeles artist who opened one of the first galleries there where Black Artists could exhibit.

“Though [Davis] was from LA, he actually lived in Memphis for a decade,” said Sharp. “He was a dean at Memphis College of Art, and later opened the first gallery in New York owned and operated by black curators.”

Another featured artist is former NFL player, Ernie Barnes. His work is distinctive. Where have you seen one of his most popular paintings, Sugar Shack? On the end scene and credits of the hit show “Good Times.” His piece Saturday Night, Durham, North Carolina, 1974 is in this collection.

Memphis native James Little’s “The War Baby: The Triptych” is among more than 50 works featured in “Black Artists in America, From the Bicentennial to September 11” at the Dixon Gallery & Gardens, the final installment of a three-part series highlighting the impact and evolution of Black artists through 2011.

Memphis native James Little’s “The War Baby: The Triptych” is among more than 50 works featured in “Black Artists in America, From the Bicentennial to September 11” at the Dixon Gallery & Gardens, the final installment of a three-part series highlighting the impact and evolution of Black artists through 2011.

The exhibit features other artists with Memphis ties, including abstract painter James Little, who was raised in a segregated Memphis and attended Memphis Academy of Art (before it was Memphis College of Art). He later moved to New York, became a teacher and an internationally acclaimed fixture in the art world in 2022 when he was named a Whitney Biennial selected artist at the Whitney Museum of American Art in New York.

Other artists like Romare Bearden, who had a Southern experience but lived up North, were featured in all three installments.

“During this period of time, he was a major figure,” said Sharp. “He wrote one of the first books on the history of African American art during a time when there were more Black academics, art teachers, more Black everything!”

Speaking of Black educators, Sharp said the head curator behind this tri-part series and Dixon’s partner in the arts is Earnestine Jenkins, Ph.D., an art history professor at the University of Memphis, who also earned a Master of Arts degree from Memphis State University (now UofM).  “We began working with Dr. Jenkins in 2018,” he said.

Sharp explained that it takes a team of curators, registrars, counterparts at other museums, and more, about three years to assemble an exhibit like this. It came together quite seamlessly, he added. Each room conjured up more jaw-dropping “wows” than the one before it. Each piece worked with the others to tell the story of Black people and their collective experience during this time period.

One of the last artists about whom Sharp shared information was Bettye Saar, who will turn 100 years old this year. She’s been working in Los Angeles for 80 years and is finally getting her due. Her medium is collages or assemblages, and an incredible work of hers is on display. She’s married to an artist and has two daughters, also artists.

The exhibit catalogue bears some of these artists’ stories, among other scholarly information.

The exhibit, presented by the Joe Orgill Family Fund for Exhibitions, is culturally and colorfully rich. It is a must see and admission to the Dixon is free.

Visit https://www.dixon.org/ to learn more.

Fun Facts: An original James Little design lives in the flooring of the basketball court at Tom Lee Park, and he makes and mixes his own paint colors.

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