Trusting the Client as the Agent of Change

After thirty-three years as a psychotherapist, I find that my insights regarding human beings and the change process are becoming simpler and easier to articulate, although I cannot establish whether this phenomenon is due to mounting wisdom or to some form of affable cognitive corrosion. Regardless of their source, my accumulating insights have provided me with a true compass that allows me to approach each client with respect, purpose, and hopefulness. I’m certain many readers have experienced the same thing.

Clients as Agents of Change

One guiding principle that emerged many years ago was a simple one: Our clients are the most essential and fundamental component of the change process. Appreciating this oft-obscured and -minimized truth of psychotherapy multiplies our options for understanding and assisting clients, and invites them to participate in the search for understanding and change, a quest that itself serves the client’s life well.

This basic idea—that clients most directly cause psychotherapeutic change—stands in stark contrast to the professional world that today’s therapists inhabit, a world dominated by the medical model, managed care, and the search for empirically supported and/or evidence-based, off-the-shelf treatment approaches, which most often attempt to match technique with diagnosis. Their resulting equations, of course, leave out essential components of psychotherapy: living human beings. Psychotherapists are expected to be capable of essentially “inserting” psychotherapeutic interventions into a human being who is nothing more than an embodied diagnosis—clients are perceived as passive recipients of our expert care. Since the beginning of my professional career, this has seemed to me to be a wholly wrong-headed approach, one that dehumanizes both client and therapist and, in doing so, neglects the most important and meaningful dimensions of human change.

A Casual Conversation

Like many, during my education and even early in my career, I maintained some ever-dwindling hope that an enchanted handbook of foolproof techniques might appear. Happily, my clients taught me differently.

A memorable example occurred approximately twenty-five years ago, when I was working as part of a rural medical practice. A seven-year-old girl was referred to me by her parents for continuing difficulties with bedwetting. While her mother remained understanding, her father had become increasingly intolerant and punitive. Although they had already set an appointment, one day they stopped by the office and asked if I would take a moment between sessions to meet their daughter, perhaps to allay the girl’s anxiety about seeing a therapist. I agreed and soon they brought the girl to my office, where she and I spoke privately. After chatting a bit about her life and interests, she told me how much she wanted to stop wetting the bed. I replied, “Yeah, I wonder what would happen if you could tell your brain, right before you went to sleep, ‘Hey, if I have to pee, go ahead and wake me up.’”

Prior to our scheduled session, about two weeks after our introduction, the girl’s parents called to cancel her appointment, telling me she had quit wetting the bed after our brief meeting. Six months later, they informed me that the change had been maintained. Her presented problem never occurred again. What was the healing factor here? Should I have copyrighted the sentence I uttered, trademarked “Single-Sentence Therapy (SST!),” and begun offering national workshops on its appropriate delivery? Of course not. The healing factor was, without doubt, the girl. She sought an answer and, in the mysterious and magnificent way that human beings often accomplish change, actively and creatively used my tossed-off sentence to forge the change she desired. Of course, at the time my utterance reflected nothing more than sincere musing on my part. Still, this experience dramatically highlighted the client’s central role in successful therapy.

Beyond my experiences, we increasingly see exceptions to the dominant narrative that therapists directly cause client change. Most notably, the work by Bohart and Tallman—their book How Clients Make Therapy Work is, in my view, a classic in the field—lucidly and convincingly makes the case that clients creatively use whatever the therapist offers in order to effect personal change, which explains why techniques have not been found to be the most influential psychotherapeutic factor.

One could argue that the seven-year-old girl’s change was nothing more than an isolated episode of kismet or coincidence, a spontaneous remission that proves nothing. However, another client with whom I worked two decades ago brought the centrality of client self-healing into even sharper focus.

Florence: A Single-Session Case

A case in which a client requests assistance in resolving an undisclosed problem sounds not unlike a patient presenting to a dentist for treatment while refusing to open his or her mouth. This was not an overly dramatic case, but it is unique in that the client shared neither the history nor the nature of her difficulties, and presented only isolated factors for my consideration, yet we achieved success after a single session of treatment.

The client was a 32-year-old unmarried Caucasian female—whom I will refer to as Florence—who lived alone in a rural Midwestern community. For the eight years before her request for therapy, she had been employed as a professional health care provider. At the time of the initial consultation, she had resigned from the facility for which she worked after accepting a similar position in a larger community two hundred miles away. She planned to relocate to her new home in five weeks.  Because she and I had both been involved in health care in the community, we were acquainted with one another on a professional basis and aware of one another’s work with patients.

Florence requested a brief consultation with me at the end of a workday. She disclosed that since early adolescence she had experienced chronic, unspecified problems with relationships and mood, and that before moving to begin her new job, she wanted to address the difficulty, allowing her to “start fresh.” Through our professional association with one another and her discussions with patients over the years, she had come to the conclusion that I was an effective therapist who would be able to provide her with the assistance she desired. She thus entered the therapy relationship with positive expectations about my ability to assist her, as well as her own ability to reach her goal.

While revealing that as a six-year-old child she had suffered a massive trauma that continued to haunt her, she stated kindly but clearly that she had no intention of revealing to me the details or even the nature of that trauma, having long ago come to the conclusion that to do so would hold no benefit for her. She further stated that after extensive research she had decided that hypnosis would help her to resolve her difficulties. She asked me to provide one session of hypnotherapy to resolve the undisclosed difficulty.

From her presentation, my options were clear: to provide the requested treatment or to refuse to do so, in which case she would simply not pursue treatment “until I find another therapist I’m willing to work with.”

Florence had grown up in a suburb of a Midwestern metropolitan area, raised by both parents and having three younger brothers and one older sister. She completed a Master’s degree, which allowed her to provide professional health care services. Never married, she indicated that she had dated in the past, but that recurrent relationship difficulties always interfered with developing a more serious and lasting involvement. Since earning her professional degree, Florence had worked for the local health care facility, where she had been a consistently reliable, popular and successful employee.

According to Florence, she had on three occasions traveled to nearby cities and consulted with therapists. After each of those consultations she elected not to return, believing that the therapists were intent on “doing things their way or no way,” and that a commitment to treatment on her part would have led to extended therapy which, to her mind, was completely unnecessary: “It would be like standing on the caboose of a train, looking backward just to satisfy the therapist. I want to focus on where I’m going. I want to be in the engine.” In particular, she had become disenchanted with therapists’ fascination with her trauma; when she had revealed in the past, it seemed to her that therapists wanted to “worry it like a dog with a bone” rather than to address her current concerns.

Although I had received significant training in clinical hypnosis years prior to our initial consultation, by the time of our session I used the approach only in cases of chronic pain management, for which it seemed ideally suited. My initial training orientation was humanistic-existential, although in the subsequent years I had availed myself of a variety of advanced training opportunities and had become increasingly flexible in my treatment of clients, although I maintained a humanistic-existential view of their functioning. I received training in a permissive, Ericksonian approach to hypnotherapy, since to my mind it was most congruent with my perception of client potential and agency. I therefore had the clinical ability to provide Florence with the service she requested. I was also positively persuaded by my clinical experience to accept Florence’s implicit challenge; I had come to the conclusion that therapy in many ways is a process of my clients and me collaborating to create “doors,” possibilities for change that clients can actively use to effect personal transformation.

In this case, assessment was indirect and decidedly not disorder-focused, instead concentrating upon Florence’s general functioning and history, as well as the presence of other factors that would inform my decision whether to provide the requested intervention. Although one could argue that her vague report could lead to reasonable hypotheses about her disorder(s), there was no way to validate those hypotheses, so basing any treatment decisions on them would have been moot. Therefore, I chose to focus upon other factors that would determine my decision.

After she signed an appropriate release of information form, I reviewed her medical file, which indicated no history of serious medical or psychiatric illness in her or her family of origin. She had not been prescribed any medication other than for short-term specific illnesses, such as infections.

Most importantly, Florence had a precise “theory of change.” She had contemplated her life problems at considerable length and reached a conclusion about what procedure would assist her in resolving her difficulties. She possessed a positive view of the clinician and an expectation for resolution that bordered on certainty, indicating a positive expectation for outcome. Despite her maintenance of a conceptual hedge around her trauma and resulting troubles, she was otherwise quite open, personable and cooperative, more than willing to undergo her preferred treatment. Thus, she appeared to embody the client whom therapy would benefit, even if the specifics of her situation remained unknown to me.

In agreeing to provide the requested treatment (hypnotherapy), the question facing me was how best to provide that treatment in a fashion that would allow me to keep front-and-center the notion that Florence was an active agent capable of using what I offered in a therapeutic fashion. In short, my responsibility was to create a hypnotic approach to treatment that would allow her to actively use both her positive expectations and creativity to change what she wanted to change. More specifically, my approach would ideally provide to Florence what Bohart has described as a “supportive working space.” It was clear: my task was to provide the canvas; she would paint the picture (and not necessarily show it to me).  What type of canvas would I provide? Since she deemed the trauma that occurred when she was six to be central to the formation of her subsequent difficulties, and because she reported experiencing her younger self as being always nearby, her construction of herself as a youngster needed to be included. Furthermore, bridging her experience of herself as a six year-old with that of her present self was important, given her connecting the two “selves” in her presentation. In short, some indeterminate flow of information and affect between her younger self and her current self needed to be invited; a bridge needed to be supplied. She would be the one to cross that bridge. Doing more than that would have been presumptuous on my part if I were to remain committed to respecting her agency and creativity.

I arranged to use a recovery room (the symbolic nature of which was not lost on either of us) in the medical office complex. I asked her to lie down on the bed, to close her eyes and begin relaxing. She responded excellently to the basic twenty-minute guided relaxation and induction process (focusing both on physical relaxation and the development of imagery). Her breathing became diaphragmatic, and I noted little to no muscle movement otherwise. I then asked her to visualize what I would describe in whatever way she chose.

While the entire session lasted about eighty-five minutes, it consisted of my providing only four basic suggestions, after which I allowed Florence to process and work with the provided images, then signal with a raised finger when she was ready for me to continue. Time between delivery of the suggestion and her signal for me to move on averaged ten minutes.

Prior to the suggestions, I asked her to visualize her current self and her six-year-old self standing face to face, and encouraged her to imagine as much detail as possible. After she indicated with a lifted index finger that she had constructed this image, I provided these four suggestions (with significant time between them):

  1. “You can tell your younger self the one thing you want her most to know, and then notice her response”;
  2. “You can ask your younger self to tell you what it is she most needs from you, and then notice your response”;
  3. “You can ask your younger self for the one thing she most wants to know from you, hear her answer, then respond to her”;
  4. “You can ask your younger self the one thing she most wants you to know, hear her answer, and notice your own response.”

Shortly after I provided the first suggestion, tears began streaming from Florence’s eyes and continued until the session ended.  Although I didn’t discourage verbal responses from her, she said nothing during the process. I ended the session by suggesting that she slowly return to normal consciousness and to remember as much or as little as she wanted to regarding what she had learned through overhearing the conversation between her current self and her younger self.

Immediately following the session, Florence indicated that already she was feeling a great sense of relief and movement, but provided no further details. We met once prior to her relocating for our follow-up session, and she reported that her mood was significantly improved and that she was viewing her relocation and new job as an adventure that she was, for the first time, regarding with optimism rather than measured dread.

Two months following her move, she sent me a lengthy letter in which she described the happiness she was feeling and the vague but confident sense that she had successfully left her problems behind her. She was no longer feeling “haunted” by what had happened to her when she was six. Although she remembered it, such remembrance seemed more voluntary, according to Florence; she was able to experience the memory “like a photo in an album, rather than the only picture on the mantle.”

After that initial letter, she sent me holiday letters for nine years. In each one, she detailed her successes not only in her profession, but in her personal life as well. Several years ago she married and, at last report, she and her husband had adopted two children and were living happily and productively.

“To this day I remain unaware of the trauma she had suffered and the resulting difficulties it caused.”

Doors of Possibility

What Florence brought to center stage, more plainly than any other client with whom I’ve worked, was the centrality not only of the client’s trust in me and the treatment I would provide, but also of my trust in the client and her inherent potential for change. For me to proceed with treatment, it was necessary to recognize the level of trust I had in Florence, specifically, and in the clients’ agency and abilities to self-heal, in general.

In attempting to understand the human beings who present for services, it is important that clinicians go far beyond the process of assigning a diagnosis and prescribing a treatment accordingly. Since the validity of most DSM-IV diagnostic categories is questionable at best, assigning a treatment approach based on that designation is at least equally dubious. Furthermore, a significant body of research emphasizes the importance of the common factors, such as the therapeutic relationship, positive expectations, and client self-healing. Both students and practicing clinicians should immerse themselves in the existing literature in these areas, providing themselves with a set of assumptions that counterbalances the medical model with which our culture seems currently enamored. By doing so, we will generate more opportunities and options for clinical intervention, the centrality of our clients’ attributes will not be reduced or neglected, and our treatment effectiveness will be enhanced as we respect our clients’ considerable gifts and abilities that, for the time being, have unfortunately been reduced to faint footnotes in our understanding of the human change process.

Florence’s case illuminated one of those simple truths that come with experience, age and attention, a truth not only about what clients bring to therapy, but also what clients most desperately need in their journey toward change. It’s not complicated.

They need doors of possibility, and they need company.

The Path to Wholeness: Person-Centered Expressive Arts Therapy

When art and psychotherapy are joined, the scope and depth of each can be expanded, and when working together, they are tied to the continuities of humanity’s history of healing. —Shaun McNiff, The Arts and Psychotherapy

Part of the psychotherapeutic process is to awaken the creative life-force energy. Thus, creativity and therapy overlap. What is creative is frequently therapeutic. What is therapeutic is frequently a creative process. Having integrated the creative arts into my therapeutic practice, I use the term person-centered expressive arts therapy. The terms expressive therapy or expressive arts therapy generally denote dance therapy, art therapy, and music therapy. These terms also include therapy through journal writing, poetry, imagery, meditation, and improvisational drama. Using the expressive arts to foster emotional healing, resolve inner conflict, and awaken individual creativity is an expanding field. In the chapters that follow, I hope to encourage you to add expressive arts to your personal and professional lives in ways that enhance your ability to know yourself, to cultivate deeper relationships, and to enrich your methods as an artist, therapist, and group facilitator.

What is expressive arts therapy?

Expressive arts therapy uses various arts—movement, drawing, painting, sculpting, music, writing, sound, and improvisation—in a supportive setting to facilitate growth and healing. It is a process of discovering ourselves through any art form that comes from an emotional depth. It is not creating a “pretty” picture. It is not a dance ready for the stage. It is not a poem written and rewritten to perfection.

We express inner feelings by creating outer forms. Expressive art refers to using the emotional, intuitive aspects of ourselves in various media. To use the arts expressively means going into our inner realms to discover feelings and to express them through visual art, movement, sound, writing, or drama. Talking about our feelings is also an important way to express and discover ourselves meaningfully. In the therapeutic world based on humanistic principles, the term expressive therapy has been reserved for nonverbal and/or metaphoric expression. Humanistic expressive arts therapy differs from the analytic or medical model of art therapy, in which art is used to diagnose, analyze and “treat” people.

Most of us have already discovered some aspect of expressive art as being helpful in our daily lives. You may doodle as you speak on the telephone and find it soothing. You may write a personal journal and find that as you write, your feelings and ideas change. Perhaps you write down your dreams and look for patterns and symbols. You may paint or sculpt as a hobby and realize the intensity of the experience transports you out of your everyday problems. Or perhaps you sing while you drive or go for long walks. These exemplify self-expression through movement, sound, writing, and art to alter your state of being. They are ways to release your feelings, clear your mind, raise your spirits, and bring yourself into higher states of consciousness. The process is therapeutic.

When using the arts for self-healing or therapeutic purposes, we are not concerned about the beauty of the visual art, the grammar and style of the writing, or the harmonic flow of the song. We use the arts to let go, to express, and to release. Also, we can gain insight by studying the symbolic and metaphoric messages. Our art speaks back to us if we take the time to let in those messages.

Although interesting and sometimes dramatic products emerge, we leave the aesthetics and the craftsmanship to those who wish to pursue the arts professionally. Of course, some of us get so involved in the arts as self-expression that we later choose to pursue the skills of a particular art form. Many artist-therapists shift from focusing on their therapist lives to their lives as artists. Many artists understand the healing aspects of the creative process and become artist-therapists.

Using the creative process for deep inner healing entails further steps when we work with clients. Expressive arts therapists are aware that involving the mind, the body, and the emotions brings forth the client’s intuitive, imaginative abilities as well as logical, linear thought. Since emotional states are seldom logical, the use of imagery and nonverbal modes allows the client an alternate path for self-exploration and communication. This process is a powerful integrative force.

Traditionally, psychotherapy is a verbal form of therapy, and the verbal process will always be important. However, I find I can rapidly understand the world of the client when she expresses herself through images. Color, form, and symbols are languages that speak from the unconscious and have particular meanings for each individual. As I listen to a client’s explanation of her imagery, I poignantly see the world as she views it. Or she may use movement and gesture to show how she feels. As I witness her movement, I can understand her world by empathizing kinesthetically.

The client’s self-knowledge expands as her movement, art, writing, and sound provide clues for further exploration. Using expressive arts becomes a healing process as well as a new language that speaks to both client and therapist. These arts are potent media in which to discover, experience, and accept unknown aspects of self. Verbal therapy focuses on emotional disturbances and inappropriate behavior. The expressive arts move the client into the world of emotions and add a further dimension. Incorporating the arts into psychotherapy offers the client a way to use the free-spirited parts of herself. Therapy may include joyful, lively learning on many levels: the sensory, kinesthetic, conceptual, emotional and mythic. Clients report that the expressive arts have helped them go beyond their problems to envisioning themselves taking action in the world constructively.

What Is Person-Centered?

The person-centered aspect of expressive arts therapy describes the basic philosophy underlying my work. The client-centered or person-centered approach developed by my father, Carl Rogers, emphasizes the therapist’s role as being empathic, open, honest, congruent, and caring as she listens in depth and facilitates the growth of an individual or a group. This philosophy incorporates the belief that each individual has worth, dignity, and the capacity for self-direction. Carl Rogers’s philosophy is based on a trust in an inherent impulse toward growth in every individual. I base my approach to expressive arts therapy on this very deep faith in the innate capacity of each person to reach toward her full potential.

Carl’s research into the psychotherapeutic process revealed that when a client felt accepted and understood, healing occurred. It is a rare experience to feel accepted and understood when you are feeling fear, rage, grief, or jealousy. Yet it is this very acceptance and understanding that heals. As friends and therapists, we frequently think we must have an answer or give advice. However, this overlooks a very basic truth. By genuinely hearing the depth of the emotional pain and respecting the individual’s ability to find her own answer, we are giving her the greatest gift.

Empathy and acceptance give the individual an opportunity to empower herself and discover her unique potential. This atmosphere of understanding and acceptance also allows you, your friends, or your clients to feel safe enough to try expressive arts as a path to becoming whole.

The Creative Connection

I am intrigued with what I call the creative connection: the enhancing interplay among movement, art, writing, and sound. Moving with awareness, for example, opens us to profound feelings which can then be expressed in color, line, or form. When we write immediately after the movement and art, a free flow emerges in the process, sometimes resulting in poetry. The Creative Connection process that I have developed stimulates such self-exploration. It is like the unfolding petals of a lotus blossom on a summer day. In the warm, accepting environment, the petals open to reveal the flower’s inner essence. As our feelings are tapped, they become a resource for further self-understanding and creativity. We gently allow ourselves to awaken to new possibilities. With each opening we may deepen our experience. When we reach our inner core, we find our connection to all beings. We create to connect to our inner source and to reach out to the world and the universe.

Some writers, artists and musicians are already aware of the creative connection. If you are one of those, you may say, “Of course, I always put on music and dance before I paint.” Or, as a writer, you may go for a long walk before you sit at your desk. However, you are not alone if you are one of the many in our society who say, “I’m not creative.” I hope this book entices you to try new experiences. You will surprise yourself.

I believe we are all capable of being profoundly, beautifully creative, whether we use that creativity to relate to family or to paint a picture. The seeds of much of our creativity come from the unconscious, our feelings, and our intuition. The unconscious is our deep well. Many of us have put a lid over that well. Feelings can be constructively channeled into creative ventures: into dance, music, art, or writing. When our feelings are joyful, the art form uplifts. When our feelings are violent or wrathful, we can transform them into powerful art rather than venting them on the world. Such art helps us accept that aspect of ourselves. Self-acceptance is paramount to compassion for others.

The Healing Power of Person-Centered Expressive Arts

I discovered personal healing for myself as I brought together my interests in psychotherapy, art, dance, writing, and music. Person-centered expressive therapy was born out of my personal integration of the arts and the philosophy I had inherited. Through experimentation I gained insight from my art journal. I doodled, let off steam, or played with colors without concern for the outcome. Unsure at first about introducing these methods to clients, I suggested they try things and then asked them for feedback. They said it was helpful. Their self-understanding increased rapidly and the communication between us improved immensely.

The same was true as I introduced movement, sound, and freewriting for self-expression. Clients and group participants reported a sense of “new beginnings” and freedom to be. One group member wrote: “I learned to play again, how to let go of what I ‘know’—my successes, achievements, and knowledge. I discovered the importance of being able to begin again.” Another said: “It is much easier for me to deal with some heavy emotions through expressive play than through thinking and talking about it.”

It became apparent that the Creative Connection process fosters integration. This is clearly stated by one client who said, “I discovered in exploring my feelings that I could break through inner barriers/structures that I set for myself by moving and dancing the emotions. To draw that feeling after the movement continued the process of unfolding.”
It is difficult to convey in words the depth and power of the expressive arts process. I would like to share a personal episode in which using expressive arts helped me through a difficult period. I hope that, in reading it, you will vicariously experience my process of growth through movement, art, and journal writing in an accepting environment.

The months after my father’s death were an emotional roller coaster for me. The loss felt huge, yet there was also a sense that I had been released. My inner feeling was that his passing had opened a psychic door for me as well as having brought great sorrow.

Expressive arts served me well during that time of mourning. Two artist-therapist friends invited me to spend time working with them. Connie Smith Siegel invited me to spend a week at a cottage on Bolinas Bay. I painted one black picture after another. Every time I became bored with such dark images, I would start another painting. It, too, became moody and bleak. Although Connie is primarily an artist, her therapeutic training and ability to accept my emotional state gave me permission to be authentic.

Also, I went to a weekend workshop taught by Coeleen Kiebert and spent more time sculpting and painting. This time the theme was tidal waves—and again, black pictures. One clay piece portrays a head peeking out of the underside of a huge wave. My sense of being overwhelmed by the details of emptying my parents’ home, making decisions about my father’s belongings, and responding to the hundreds of people who loved him was taking its toll. Once again, my art work gave free reign to my feelings and so yielded a sense of relief. Coeleen’s encouragement to use the art experience to release and understand my inner process was another big step. I thought I should be over my grief in a month, but these two women gave me permission to continue expressing my river of sadness. That year my expressive art shows my continued sense of loss as well as an opening to new horizons.

As is often true when someone feels deep suffering, there is also an opening to spiritual realms. Three months after my father’s death, I flew to Switzerland to cofacilitate a training group with artist-therapist Paolo Knill. It was a time when I had a heightened sense of connectedness to people, nature, and my dreams. Amazing events took place in my inner being. I experienced synchronicities, special messages, and remarkable images. One night I found myself awakened by what seemed to be the beating of many large wings in my room. The next morning I drew the experience as best I could.

One afternoon I led our group in a movement activity called “Melting and Growing.” The group divided into pairs, and each partner took turns observing the other dancing, melting, and then growing. Paolo and I participated in this activity together. He was witnessing me as I slowly melted from being very tall to collapsing completely on the floor. Later I wrote in my journal:

I loved the opportunity to melt, to let go completely. When I melted into the floor I felt myself totally relax. I surrendered! Instantaneously I experienced being struck by incredible light. Although my eyes were closed, all was radiant. Astonished, I lay quietly for a moment, then slowly started to “grow,” bringing myself to full height.

I instructed the group participants to put their movement experiences into art. All-encompassing light is difficult to paint, but I tried to capture that stunning experience in color.

Reflecting on these experiences, it seems that my heart had cracked open. This left me both vulnerable and with great inner strength and light. A few days later another wave picture emerged. This time bright blue/green water was illumined with pink/gold sky.

These vignettes are part of my inner journey. I share them for two reasons. First, I wish to illustrate the transformative power of the expressive arts. Second, I want to point out that person-centered expressive therapy is based on very specific humanistic principles. For instance, it was extremely important that I was with people who allowed me to be in my grief and tears rather than patting me on the shoulder and telling me everything would be all right. I knew that if I had something to say, I would be heard and understood. When I told Paolo that I had the sensation of being struck with light, he could have said, “That was just your imagination.” However, he not only understood, he told me he had witnessed the dramatic effect on my face.

Humanistic Principles

Since not all psychologists agree with the principles embodied in this book, it seems important to state them clearly as the foundation for all that follows:

  • All people have an innate ability to be creative.
  • The creative process is healing. The expressive product supplies important messages to the individual. However, it is the process of creation that is profoundly transformative.
  • Personal growth and higher states of consciousness are achieved through self-awareness, self-understanding, and insight.
  • Self-awareness, understanding, and insight are achieved by delving into our emotions. The feelings of grief, anger, pain, fear, joy, and ecstasy are the tunnel through which we must pass to get to the other side: to self-awareness, understanding, and wholeness.
  • Our feelings and emotions are an energy source. That energy can be channeled into the expressive arts to be released and transformed.
  • The expressive arts—including movement, art, writing, sound, music, meditation, and imagery—lead us into the unconscious. This often allows us to express previously unknown facets of ourselves, thus bringing to light new information and awareness.
  • Art modes interrelate in what I call the creative connection. When we move, it affects how we write or paint. When we write or paint, it affects how we feel and think. During the creative connection process, one art form stimulates and nurtures the other, bringing us to an inner core or essence which is our life energy.
  • A connection exists between our life-force—our inner core, or soul—and the essence of all beings.
  • Therefore, as we journey inward to discover our essence or wholeness, we discover our relatedness to the outer world. The inner and outer become one.

My approach to therapy is also based on a psychodynamic theory of individual and group process:

  • Personal growth takes place in a safe, supportive environment.
  • A safe, supportive environment is created by facilitators (teachers, therapists, group leaders, parents, colleagues) who are genuine, warm, empathic, open, honest, congruent, and caring.
  • These qualities can be learned best by first being experienced.
  • A client-therapist, teacher-student, parent-child, wife-husband, or intimate-partners relationship can be the context for experiencing these qualities.
  • Personal integration of the intellectual, emotional, physical, and spiritual dimensions occurs by taking time to reflect on and evaluate these experiences.

The accompanying figure shows the Creative Connection process and principles, using expressive arts therapy. It shows how all art forms affect each other. Our visual art is changed by our movement and body rhythm. It is also influenced when we meditate and become receptive, allowing intuition to be active. Likewise, our movement can be affected by our visual art and writing, and so forth. All the creative processes help us find our inner essence or source. And when we find that inner source, we tap into the universal energy source, or the collective unconscious, or the transcendental experience.

Come with me, if you will, on a journey of inner exploration to awaken your creativity. Perhaps you are a writer who shies away from visual art, or an artist who says,”I can’t dance,” or a therapist who would like to discover methods for enhancing the counselor-client relationship. I invite you into your own secret garden.