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„Nem tudok rajzolni, \u00e9s nem is szeretek”. „Nem vagyok kreat\u00edv”. „B\u00e9na vagyok, ez nekem nem fog menni, nem is jelentkezem ilyenre..nem vagyok m\u0171v\u00e9szi v\u00e9n\u00e1val meg\u00e1ldva, nem tudok alkotni semmit”. Provokat\u00edv mondatokkal nyitom ezt a\u00a0 bejegyz\u00e9st. Ezeket, \u00e9s ehhez hasonl\u00f3 reakci\u00f3kat kaptam az esetek 80 %-ban. Megd\u00f6bbent\u0151 ar\u00e1ny. Igen, a rajz\u00f3r\u00e1k \u00e9s az oktat\u00e1s. Nem is k\u00e9rd\u00e9s, nincs is k\u00e9ts\u00e9g. De mit lehet kezdeni \u00edgy, ha az egyik legnagyobb kommunik\u00e1ci\u00f3s csatorna blokkolva van? Pedig az alkot\u00e1s, nyomhagy\u00e1s \u0151si ig\u00e9ny. Mindenki k\u00e9pes r\u00e1, \u00e9s az \u00e9lettel egy\u00fctt j\u00e1r az \u00f6t \u00e9rz\u00e9kszervhez kapcsol\u00f3d\u00f3 m\u00f3dja. Egyszer\u0171 p\u00e9ld\u00e1n mutatom be, majd Wilber kvadr\u00e1ns\u00e1n kereszt\u00fcl k\u00f6zel\u00edtek a komplex m\u0171v\u00e9szetter\u00e1pi\u00e1hoz, hogy bemutassam: el\u0151k\u00e9pzetts\u00e9g n\u00e9lk\u00fcl, b\u00e1rki k\u00e9pes alkotni.<\/p>\n
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Sz\u00ednh\u00e1zba megyek, megn\u00e9zem az el\u0151ad\u00e1st \u00e9s annak m\u00e9rt\u00e9k\u00e9ben tapsolok a v\u00e9g\u00e9n, ahogy tetszett. A tapsommal, szavak n\u00e9lk\u00fcl fejezem ki a tetsz\u00e9sem. Tegy\u00fck fel, hogy az ismeretlen mellettem \u00fcl\u0151nek nem tetszett, \u00e9s nem tapsol. De az el\u0151ttem \u00fcl\u0151nek annyira tetszett, hogy \u00e1llva tapsol. A t\u00f6bbiek l\u00e1tva ezt a reakci\u00f3t csatlakoznak a fel\u00e1ll\u00f3hoz, mire a mellettem \u00fcl\u0151 nem tapsol\u00f3 durrogva fel\u00e1ll \u00e9s mindenkin \u00e1tcs\u00f6rtetve t\u00e1vozik. A p\u00e9lda egyszer\u0171s\u00e9g\u00e9n tetten \u00e9rhet\u0151 az a folyamat \u00e9s m\u0171k\u00f6d\u00e9sm\u00f3d, amivel a m\u0171v\u00e9szetter\u00e1pia \u00e9s alkot\u00f3i folyamata dolgozik. Az els\u0151 az egy\u00e9n a bej\u00f6v\u0151 impulzusra m\u00e1sik csatorn\u00e1n v\u00e1laszol. Nem az a bevett szok\u00e1s a mi kult\u00far\u00e1nkban, hogy az el\u0151ad\u00e1s v\u00e9g\u00e9n egy m\u00e1sik el\u0151ad\u00e1ssal fejezzem ki a tetsz\u00e9semet, vagy nem tetsz\u00e9semet. Mi tapsolunk. Valahol l\u00e1bbal dobognak. Ha akarom, ha nem, egy t\u00e9rben vagyok a mellettem \u00fcl\u0151vel, \u00e9s az el\u0151ttem \u00fcl\u0151k reakci\u00f3ja is hat\u00e1ssal van r\u00e1m ( konkr\u00e9tan kitakarja a tapsrendet el\u0151ttem). \u00cdgy azonnal tetten \u00e9rhet\u0151, hogy nem lehet egy valamit egy szempontb\u00f3l vizsg\u00e1lni, mert rengeteg dolog hat egym\u00e1sra. \u00c9n saj\u00e1t bels\u0151 m\u0171k\u00f6d\u00e9sem alapj\u00e1n d\u00f6nt\u00f6k (tudatosan, vagy tudattalanul), hogy hogyan reag\u00e1lok a saj\u00e1t v\u00e9lem\u00e9ny nyilv\u00e1n\u00edt\u00e1sommal a csoportban. \u00c9s m\u00e1r ez az egyszer\u0171 p\u00e9lda is mutatja, hogy mennyire \u00f6sszetett az egy\u00e9ni \u00e9s csoportos bels\u0151, \u00e9s k\u00fcls\u0151 vil\u00e1gunk. Hogy kapcsol\u00f3dik mindez a komplex m\u0171v\u00e9szetter\u00e1pi\u00e1hoz? Amikor a m\u0171v\u00e9szetter\u00e1pia folyamata t\u00f6rt\u00e9nik, pont ez t\u00f6rt\u00e9nik. Minden ember k\u00e9pes az \u00f6t \u00e9rz\u00e9kszerv\u00e9n \u00e1t \u00e9rkez\u0151 egy\u00e9ni \u00e9s csoportos ingerekre reag\u00e1lni egy m\u00e1sik kifejez\u00e9si csatorn\u00e1n azzal a m\u0171k\u00f6d\u00e9ssel, amit az ITT \u00e9s MOST kiv\u00e1lt bel\u0151le. A reakci\u00f3ja nem min\u0151s\u00edti \u0151t, hanem t\u00fckr\u00f6zi (bemutatja, l\u00e1that\u00f3v\u00e1 teszi) a bels\u0151 m\u0171k\u00f6d\u00e9s\u00e9t. Ez nem tartozik meg\u00edt\u00e9l\u00e9s al\u00e1, nem j\u00f3, vagy rossz. Itt \u00e9s most \u00edgy m\u0171k\u00f6dik. Teh\u00e1t az alkot\u00f3foglalkoz\u00e1son \u00e9rkezik egy inger, \u00e9s arra reag\u00e1lni kell egy m\u00e1sik csatorn\u00e1n, m\u00e1sik \u00e9rz\u00e9kszervek m\u0171k\u00f6dtet\u00e9s\u00e9vel. A p\u00e9ld\u00e1ban ez az el\u0151ad\u00e1s tetsz\u00e9s\u00e9re adott taps egy\u00e9ni \u00e9s csoportos v\u00e1lasza. Az alkot\u00e1sban p\u00e9ld\u00e1ul egy instrukci\u00f3ra adott szavak \u00e9s komment\u00e1r n\u00e9lk\u00fcli ceruzamozgat\u00e1s, firk\u00e1l\u00e1s, fest\u00e9k folt k\u00e9sz\u00edt\u00e9s, mint\u00e1z\u00e1s..<\/p>\n
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Ha tov\u00e1bb k\u00f6zel\u00edtek a sz\u00ednh\u00e1z – \u00e9s tapsol\u00e1s p\u00e9ld\u00e1val \u00e9lve a mellettem \u00fcl\u0151, \u00e9s el\u00e9m \u00e1ll\u00f3 jelenl\u00e9te, v\u00e9lem\u00e9nye, annak kifejez\u00e9se azonnal tetten \u00e9rhet\u0151 a m\u0171v\u00e9szetter\u00e1pi\u00e1s csoportos alkot\u00e1s sor\u00e1n. A reakci\u00f3m azonnal t\u00fckr\u00f6zi a m\u0171k\u00f6d\u00e9si m\u00f3domat. Azonnal reag\u00e1l r\u00e1 a csoport is, reag\u00e1lunk egym\u00e1sra. Ha a firk\u00e1l\u00e1s p\u00e9ld\u00e1j\u00e1n\u00e1l maradok, akkor rem\u00e9lem siker\u00fclt r\u00e1vil\u00e1g\u00edtanom arra, hogy ez\u00e9rt sem fontos mit \u00e1br\u00e1zol a firka, sz\u00e9p-e vagy cs\u00fanya, tetszik, vagy nem tetszik. C\u00e9lja a bels\u0151 m\u0171k\u00f6d\u00e9sm\u00f3d t\u00fckr\u00f6z\u00e9se. Nem az\u00e9rt j\u00f6n l\u00e9tre, hogy \u00e1br\u00e1zolja a m\u0171k\u00f6d\u00e9sm\u00f3dot, \u00e9s annak legyen egy m\u0171v\u00e9szileg meghat\u00e1rozott \u00e9rt\u00e9ke, amit m\u00fazeumba kell tenni. Ha pedig nem \u00e9rt\u00e9kes m\u0171v\u00e9szileg, akkor kuka \u00e9s az alkot\u00f3 is megy a kuk\u00e1ba, mert „b\u00e9na” mint a m\u0171ve… nem-nem, semmi \u00e9s senki nem megy a kuk\u00e1ba:) A t\u00fckr\u00f6z\u00e9s n\u00e9ha neh\u00e9z, de pont ett\u0151l csod\u00e1latos: szavak n\u00e9lk\u00fcl mutat be olyat, amit nem tudtam, vagy nem l\u00e1ttam r\u00e1, vak voltam r\u00e1 (L\u00e1sd a kor\u00e1bbi bejegyz\u00e9sben a\u00a0 Johari ablakr\u00f3l \u00edrtakat).<\/p>\n
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Folytatom a p\u00e1rhuzamot: az el\u0151ad\u00e1sr\u00f3l kifejtett v\u00e9lem\u00e9nyem, reakci\u00f3m a tapsol\u00e1s er\u0151ss\u00e9g\u00e9vel fejezem ki. Egy instrukci\u00f3ra, verse, mes\u00e9re l\u00e9trej\u00f6v\u0151 reakci\u00f3m kifejezhetem sz\u00ednekkel is, anyagokkal, k\u00fcl\u00f6nb\u00f6z\u0151 technik\u00e1k \u00f6tv\u00f6zet\u00e9vel, amit pont \u00fagy v\u00e1laszthatok ki, ahogy ITT \u00e9s MOST a m\u0171k\u00f6d\u00f6m.<\/p>\n
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Ha nem a fent eml\u00edtett technik\u00e1kat haszn\u00e1lom, akkor a bennem l\u00e9v\u0151 m\u0171k\u00f6d\u00e9s \u00e1ltal a v\u00e1laszreakci\u00f3m kifejez\u00e9s\u00e9re v\u00e1laszthatok k\u00e9pet, k\u00e1rty\u00e1t, t\u00e1rgyat, kacatot, b\u00e1rmit.. mert pont olyan a sz\u00edne, a tapint\u00e1sa, a nagys\u00e1ga, fel\u00fclete, mint amit ki szeretn\u00e9k fejezni szavak haszn\u00e1lata n\u00e9lk\u00fcl. Ez az alkot\u00e1si m\u00f3d a kiv\u00e1laszt\u00e1s elv\u00e9re \u00e9p\u00fcl, ami pont ugyan olyan alkot\u00e1s, mint a kor\u00e1bban felsorolt szinte r\u00e9miszt\u0151 \u00e9s blokkol\u00f3 rajzol\u00e1s \u00e9s fest\u00e9s.<\/p>\n
Rem\u00e9lem siker\u00fclt bemutatnom, hogy az ALKOT\u00c1S a komplex m\u0171v\u00e9szetter\u00e1pi\u00e1s munka sor\u00e1n a benn\u00fcnk l\u00e9v\u0151 reakci\u00f3 kifejez\u00e9s\u00e9t mutatja, \u00e1br\u00e1zolja, jelen\u00edti meg. Ez nem azonos azzal, hogy m\u0171v\u00e9szi m\u00f3don \u00e1br\u00e1zolom a bennem zajl\u00f3 folyamatokat. Els\u0151re sokan ezt gondolj\u00e1k. Hat\u00e1rozottan nem, ez\u00e9rt is mutattam be a tapsol\u00f3s p\u00e9ld\u00e1val \u00e9s a r\u00e9tegekkel (egy\u00e9ni bels\u0151. k\u00fcls\u0151, csoportos bels\u0151, k\u00fcls\u0151), hogy nem line\u00e1ris egy \u00f6sszetev\u0151j\u0171 folyamatr\u00f3l van sz\u00f3, ahol a v\u00e9geredm\u00e9ny, mint alkot\u00e1s seg\u00edti az \u00f6nismeretet. Nem is a v\u00e9geredm\u00e9ny a fontos, nem a produktum elk\u00e9sz\u00edt\u00e9se a c\u00e9l. Ennek a folyamatnak a meg\u00e9l\u00e9se az \u00f6nismereti munka. \u00cdgy amire nincs sz\u00f3, van k\u00e9p, vagy t\u00e1rgy, sz\u00edn, vagy hang, mozdulat..b\u00e1rmi, ami az \u00f6t \u00e9rz\u00e9kszerv k\u00f6z\u00f6tti „\u00e1tj\u00e1r\u00e1st” legink\u00e1bb lehet\u0151v\u00e9 teszi. Ez a munka, sem a l\u00e9trej\u00f6v\u0151 v\u00e1lasz reakci\u00f3 nem j\u00f3, vagy rossz, sz\u00e9p vagy cs\u00fanya… csak van, \u00e9s a kifejez\u00e9s \u00e1ltal t\u00fckr\u00f6z, megmutat, bemutat, felsz\u00ednre hoz att\u00f3l f\u00fcgg\u0151en, hogy a bels\u0151 folyamat hol tart ITT \u00e9s MOST.<\/p>\n
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Az eur\u00f3pai kult\u00fara \u00e9vsz\u00e1zadokig m\u00fazeumban \u00e1ll\u00edtotta ki a m\u0171alkot\u00e1sokat, \u00edgy csak annak volt ALKOT\u00c1S \u00e9rt\u00e9ke. Amikor a posztmodern kult\u00f3ra hajnal\u00e1n Duchamp egy WC cs\u00e9sz\u00e9t \u00e1ll\u00edtott ki, a kor\u00e1bbi hagyom\u00e1nyokra hivatkozva joggal tette fel a k\u00e9rd\u00e9st: akkor ez most m\u0171alkot\u00e1s? Ezt a v\u00e1lasztott t\u00e1rgyat \u00e1br\u00e1zol\u00f3 fot\u00f3t tettem a bejegyz\u00e9s index fot\u00f3j\u00e1nak. A k\u00f6vetkez\u0151 bejegyz\u00e9sben pedig folytatom az alkot\u00e1si lehet\u0151s\u00e9gek bemutat\u00e1s\u00e1t az ID\u0150 \u00e9s T\u00c9R bekapcsol\u00e1s\u00e1val: sz\u00f3 lesz az \u00edr\u00e1s, hangok, test \u00e9s mozg\u00e1s, fot\u00f3 \u00e9s install\u00e1ci\u00f3 komplex m\u0171v\u00e9szetter\u00e1pi\u00e1s lehet\u0151s\u00e9geir\u0151l.<\/p>\n
Ha szeretn\u00e9d mindezt a gyakorlatban is kipr\u00f3b\u00e1lni, \u00edrj a rajzoljvelempontrolpontra@gmail.com c\u00edmre, \u00e9s keresd az esem\u00e9nyek k\u00f6z\u00f6tt az indul\u00f3 csoportokat! Rajzolj velem, alkoss velem pontr\u00f3l pontra az \u00f6nismereti \u00faton!<\/p>\n
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I Can\u2019t Draw \u2013 and I Don\u2019t Even Like Drawing<\/p>\n
\u201cI can\u2019t draw, and I don\u2019t even like drawing. I\u2019m not creative. I\u2019m hopeless at it. This isn\u2019t going to work for me, so I\u2019m not even signing up. I wasn\u2019t blessed with an artistic streak. I can\u2019t create anything.\u201d<\/p>\n
I\u2019m opening this post with some deliberately provocative statements.\u00a0I received reactions like these \u2013 or very similar ones \u2013 in 80% of cases. That is a staggering proportion.\u00a0Yes, I\u2019m talking about drawing classes and education. There is really no question about it.\u00a0But what can we do when one of our most important channels of communication has been blocked?\u00a0And yet, the need to create and to leave a trace is ancient. Everyone is capable of it, and it is part of being alive. It can happen through the different pathways connected to our five senses.\u00a0I\u2019ll demonstrate this with a simple example first, and then approach complex art therapy through Wilber\u2019s quadrants to show that anyone can create, without any prior artistic training.\u00a0I go to the theatre, watch a performance, and at the end I clap to the extent that I enjoyed it. Through my applause, I express my appreciation without words.\u00a0Let\u2019s suppose that the stranger sitting next to me didn\u2019t enjoy the performance and doesn\u2019t clap. The person sitting in front of me, however, enjoyed it so much that they stand up and applaud.<\/p>\n
Seeing this reaction, the others join in and stand up as well. Meanwhile, the person next to me who had not been applauding also gets up, grumbling, and storms out through the crowd.\u00a0Even in the simplicity of this example, we can see the kind of process and way of functioning that art therapy and the creative process work with.\u00a0First, the individual responds to an incoming impulse through a different channel.\u00a0In our culture, it is not customary to express our appreciation or dislike of a performance by giving another performance ourselves at the end. We clap.<\/p>\n
Somewhere else, people may stamp their feet.<\/p>\n
Whether I want to or not, I am sharing a space with the person sitting next to me, and the reactions of the people in front of me also affect me \u2013 quite literally, they may block my view of what is happening.\u00a0This immediately demonstrates why something cannot be examined from a single perspective: countless things influence one another.\u00a0Based on my own inner functioning, I decide \u2013 consciously or unconsciously \u2013 how I respond and express my opinion within the group.\u00a0And this simple example already shows how complex our individual and collective inner and outer worlds are.<\/p>\n
So how does all of this relate to complex art therapy?\u00a0When the process of art therapy takes place, this is exactly what happens.<\/p>\n
Every person is capable of responding to the individual and collective stimuli arriving through their five senses via another channel of expression, using the way of functioning that is activated in them HERE AND NOW.\u00a0The response does not define or judge the person. Instead, it reflects their inner functioning \u2013 it makes it visible.\u00a0It is not something to be judged as good or bad.\u00a0This is simply how I function here and now.\u00a0So, during a creative session, a stimulus arrives, and we respond to it through another channel, engaging different senses.\u00a0In the theatre example, this is the individual and collective response expressed through applause.\u00a0In the creative process, it might be the movement of a pencil in response to an instruction, without words or commentary: scribbling, making a paint mark, modelling with a material, and so on.If I take the theatre and applause example a little further, the presence, opinion and expression of the person sitting next to me \u2013 or standing in front of me \u2013 immediately become apparent during a group art therapy process.<\/p>\n
My reaction immediately reflects my way of functioning.\u00a0And the group responds to it. We respond to one another.<\/p>\n
If I stay with the example of scribbling, I hope it becomes clear why it is not important what the scribble depicts, whether it is beautiful or ugly, whether we like it or not.\u00a0Its purpose is to reflect our inner way of functioning.<\/p>\n
It is not created to artistically represent that way of functioning or to have some kind of artistic value that means it belongs in a museum.\u00a0And if it has no artistic value, does that mean it goes in the bin \u2013 and the person who created it goes in the bin too because they are \u201chopeless\u201d, just like their artwork?No, no. Nothing and nobody goes in the bin. \ud83d\ude42\u00a0Reflection can sometimes be difficult, but that is precisely what makes it so wonderful: without words, it can show me something I didn\u2019t know, something I couldn\u2019t see, something I was blind to.<\/p>\n
(See: the Johari Window.)Let\u2019s continue the parallel.I express my opinion and reaction to the performance through the intensity of my applause.\u00a0In response to an instruction, a poem or a story, I can express my reaction through colours, materials, or a combination of different techniques \u2013 choosing them in exactly the way my functioning shows itself HERE AND NOW.\u00a0But what if I don\u2019t use any of the techniques mentioned above?\u00a0Then I can choose an image, a card, an object, a piece of junk \u2013 anything \u2013 to express the response arising from within me.\u00a0Perhaps it has exactly the colour, texture, size or surface that corresponds to what I want to express without using words.\u00a0This way of creating is based on the principle of selection.\u00a0And it is just as much a creative response as the previously mentioned forms of drawing and painting \u2013 forms that can feel almost frightening and blocking for some people.\u00a0I hope I have managed to demonstrate that, in complex art therapy, CREATION expresses, represents and makes visible the response that exists within us.This is not the same as artistically depicting the processes taking place inside us.\u00a0At first, many people assume that it is.\u00a0It definitely is not.<\/p>\n
That is why I used the example of applause and the different layers \u2013 individual inner, individual outer, collective inner and collective outer \u2013 to demonstrate that this is not a linear, single-component process in which the finished artwork simply helps us gain self-awareness.<\/p>\n
Sometimes, when there are no words, there is an image.<\/p>\n
Or an object.<\/p>\n
A colour.<\/p>\n
A sound.<\/p>\n
A movement.<\/p>\n
Anything that most strongly supports the \u201ctransition\u201d between our five senses.\u00a0And neither this process nor the response that emerges from it is good or bad, beautiful or ugly.It simply exists.<\/p>\n
Through expression, it reflects, reveals, brings something into view and brings something to the surface \u2013 depending on where the inner process is HERE AND NOW.For centuries, European culture placed works of art in museums, and therefore only those objects were granted the value of CREATION.When, at the dawn of postmodern culture, Duchamp placed a urinal in a museum, he was quite rightly able to raise the question, referring to established traditions:\u00a0So, is this now a work of art?\u00a0I chose a photograph of this selected object as the cover image for this post.\u00a0In my next post, I will continue exploring the possibilities of creation by introducing TIME and SPACE.\u00a0I will talk about writing, sounds, the body and movement, photography, and installation as possibilities within complex art therapy.<\/p>\n