In this article, Assagioli describes how important it is to use creative expressions such as drawing, dancing, and acting in teaching, as these methods can have a liberating effect on both the higher layers of consciousness and repressed emotions.
By Roberto Assagioli; translation Keld Søgård
A subject of this magnitude would require a whole book if it were to be treated adequately. The limitations of an article allow me only to describe briefly and almost summarily some of the points that I consider to be the most important and which are not always sufficiently elucidated and applied.
Therefore, I count not only on the intelligent understanding that can be expected from the readers of this journal and the resulting cultural level, but also on their active participation in developing the suggestions that follow and putting them into practice in their work as educators.
The methods of creative expression can be introduced in all kinds of schools with pupils of all ages and also by parents towards children. The advantage is that the introduction and effectiveness are made easier, since they do not depend on previous solutions to the many theoretical problems involved. On the contrary, those who are interested in these problems should confidently expect that the practical implementation will provide material that will contribute significantly to the solution of the problems.
An important point and one that needs to be noted is the difference between creativity in general, especially in the context of education, and artistic creativity. That is, the production of works of art with artistic quality. The absence of this distinction contributes to unnecessary confusion on the subject. On the other hand, the application of this distinction requires a discussion of aesthetic values, which are different and contradictory, and the difficult question of the criteria for aesthetic values, as well as the problems associated with the ability to express oneself creatively.
Two contrasts will make this point clear. On the one hand, there may be great expertise in creative expression, proficiency in formal techniques, without any meaningful or valuable content. As a French critic sharply commented about an author: “He has nothing to say, but how well he does it!” On the other hand, there are creative artists with valuable ideas but little ability to translate them into a clear and understandable way. In this context, mention must be made of Thomas Carlyle, a great thinker, although some of his ideas are debatable, and whose clumsy style did much to prevent good presentation. Probably a contemporary publisher would hardly publish him without a high degree of editing. (Whether this would lead to an improvement must be left open to further discussion!) Skills in presentation and form, on the other hand, are of less importance for the educational use of creativity.
Before we proceed, it will be useful to establish a clear frame of reference that shows the contemporary differences and conflicts within the psychological trends. By this I mean a specific conception of the human psyche, of what is called “the psychological space” in which creativity takes place. The following diagram with the brief description illustrates this frame of reference in a simple way. It has proven useful in other contexts. (Assagioli 1961)
Definition of the creative process
It is a general assumption, supported by much evidence, that the creative process often begins and is carried through in the unconscious. But there has been insufficient attention to the different parts of the unconscious, its nature and different qualities, which therefore produce very different results. This point will be discussed later. Here I will briefly describe the creative processes and their different stages.
The first stage is conception – the result of fertilization. With regard to psychic creativity and fertilization, there are many stimulating factors that can be divided into two main classes: external influences and internal influences.
The first group will be discussed later in the section dealing with the means by which one can encourage and create creative expressions.
Let us consider the inner spontaneous drives. Every strong drive wants to express itself outwardly in action and when this is denied, repressed or suppressed it seeks and can find indirect expression and satisfaction through some form of creative expression. Without entering into a fine psychoanalytic analysis it is clear that many literary products represent such an indirect expression of the author’s inner drives, desires and feelings. Many of the countless love poems and love stories are expressions of this. In some cases a writer/composer has made conscious use of this, such as Wagner who wrote to Liszt while preparing Tristan and Isolde: “In my life I have not enjoyed the full happiness of love. I want to erect a monument to the most beautiful dream of all, in which this love shall be fully satisfied from beginning to end, I plan a Tristan and Isolde”
The second stage of the creative process is the gestation or conception, of growth and development from the first “egg,” so to speak. It generally takes place in the unconscious. Sometimes it will be partially conscious with alternating stages of conscious and unconscious activity. It may take a long time or a very short time and in some cases, where the creative process expresses itself directly, it will be practically instantaneous. This often happens with children.
The third stage represents the “ birth ” of the product. Subjectively it would be the “moment of inspiration” and it can be objectively described as the “psychological child’s” transition from the unconscious to the conscious part of the personality. The individual becomes familiar with and often surprised by the incoming creation that has arisen in the unconscious creative process and that takes objective form, verbally or non-verbally. This stage can appear at very different stages of development, just as it occurs with the physical offspring of certain animal species. Sometimes the “creation” is complete and vital, other times it is still immature and needs to be worked on and developed. In relation to psychic creativity, the more or less unfinished products need to be developed, worked on, polished and “sharpened”.
The means and techniques of creative expression
These can be divided into two main classes: Verbal and non-verbal expressions. This includes not only drawing, painting, modeling and musical expression, but also expressive elements such as dance, pantomime, psychodrama, etc. Recently, there has been a growing and useful attention to non-verbal forms of expression, which for many are the easiest form of expression. Furthermore, the unconscious prefers non-verbal modes of presentation as they are better suited to expressing symbolic content.
In a broad sense, all expressions are symbolic. In verbal expressions, abstract concepts are etymological symbols for external realities. For example, “spirit” comes from the Latin “spirare,” to breathe, and “anima” (soul) from anemos (Greek for wind).
Symbols can be considered as representations or images that express or conceal abstract ideas or meaningful circumstances and situations. The psychological function that gives meaning expression through symbols is the imagination and this important function is almost constantly active in us, also in dreams.
Since this expressive function is creative, it is correct to speak of “creative performance”.
This creative notion precedes and conditions all creative expressions .
This general overview has paved the way for a more detailed description of how to use creative expression in teaching.
The first point that arises concerns the spontaneous outcome of such expression. We must then look at the methods that we can use to cultivate, regulate, and use this in educational contexts.
Results of creative expression
Previous references have highlighted the fact that the result of the expression depends on the level from which it originates. The most common sources are from the drives, appetites, desires, and emotions that come from the lowest and middle levels of the unconscious. Two of these basic drives, the sexual and the warlike and aggressive, require special attention, as they are the cause of serious and urgent educational problems.
A study of the present world situation viewed from a psychological point of view will clearly reveal that most of its evil and dangers are connected with a lack of proper control and constructive use of these irresistible energies which drive and often possess both individuals and groups.
Therefore, an elucidation of appropriate methods to bring them under control and give them a harmless outlet, utilizing them to the utmost for useful and constructive purposes, is a compelling educational, sociological and even political goal. This necessitates a transformation and, where possible, a sublimation of these energies.
Such a transformation should not be artificially produced or something achieved through coercion.
It is a natural psychological process and in some cases it occurs spontaneously. The sublimation of sexuality has been described and treated by psychoanalysts and in literature, especially in biographies, there is an abundance of examples of the transformation of sexuality into emotional, romantic and idealistic love. It is also clear how the satisfaction of the warrior desire is stimulated by seeing others in aggressive situations, such as in bullfighting, boxing, competitive sports and in connection with fights in films such as westerns. It should be pointed out that at a higher level, the warrior energy can be used to fight against social injustice and to serve humanitarian purposes.
But such a transformation is not easy and without undesirable consequences, but apart from that, the need for encouragement and guidance to this end is absolutely necessary. Such means exist and are available. What is needed is to spread the knowledge of them and to teach and encourage their application in all aspects of human life. (Read Assagioli’s article: Transformation and Sublimation of the Sexual Drive)
Among these means, creative expressions are very effective and very suitable in teaching.
Its first direct result is liberation or catharsis . Aristotle described the catharsis that occurs when the audience at a theater participates in the emotions expressed in drama or tragedy. But the catharsis that results from creative techniques is more direct and satisfying.
Creative expression can emerge in a crude and primitive form or it can be the result of the processing process, as mentioned earlier. The fact that it often takes a symbolic form does not prevent its liberating effect, for both unconscious and conscious drives can find release through an indirect and symbolic form. This offers possibilities for extensive use in psychotherapy, education and leadership of broad groups of the population.
The creative expression that emerges at the higher, superconscious levels of the unconscious is different. It emerges through the awakening of potentials that, although present in all people, are often dormant. They are sometimes awakened through the powerful influence of unusually strong stress or an emergency or in response to a strong appeal. Among these higher desires, desires and aspirations, which have recently been recognized by several psychologists, are: The desire for self-development; the need to know and understand the meaning of life; love in its higher aspect, as compassion or altruism; the aspiration to connect with a greater whole and with higher realities and beings. But also the realization and unfoldment of higher values of an ethical, aesthetic and religious nature.
These higher drives find in modern life a climate which fails to encourage and stimulate them, but which is also downright unfavorable and hostile. Since emotion, imagination, and the various forms of spiritual expression are considered to be of no practical or economic value, they are neglected and suppressed by the anxious pursuit of efficiency and success. They are not understood and appreciated, and are regarded as something downright disturbing. When children sometimes spontaneously express them, and they do so more often than adults, since they have fewer inhibitions, they are not infrequently mocked or ridiculed by their sensible adults.
This produces repressions that in some ways correspond and in other ways counteract those produced in relation to the lower drives and that have serious consequences, such as rebellion, depression, a feeling of psychological isolation and confusion.
The creative expression of the higher drives produces extremely positive results. It evokes joy and adds spice to life, it expands the field of consciousness, it creates “peak experiences” experiences that Maslow has described in detail. (1962) It helps to integrate the diverse aspects and functions of the personality into a larger and richer whole, and brings about its psychosynthesis. It initiates a process of inner creativity that can culminate in a real creation and re-creation of the personality.
In addition to these general results, the awakening of the superconscious and its penetration into the conscious part of the personality has very specific and beneficial effects. One is an early development of the linguistic talents, which sometimes show themselves clearly in the type and quality of the expression. Mechanical skills, literary or artistic gifts, or organizational talent – all may emerge and be a source of encouraging self-realization for the child or adolescent. The young person experiences a lively, sometimes enthusiastic interest in cultivating and developing the newly discovered potential. Sometimes this occurs to such a marked degree that the child is regarded as a highly gifted individual.
There should be no need to exaggerate the value of this discovery, both for the individual and for society as a whole. But although the discovery and proper training of this invaluable human material, this “psychological uranium,” is being considered one of the most important educational tasks, it is still far from receiving sufficient attention and application.
Techniques for creative expression
There is sufficient information available about the principles and general techniques of creative expression, and since children and adults embrace them with joy, they can be easily integrated into teaching. There is certainly more need for regulation than stimulation.
The simplest is to freely provide usable materials to the students. In the beginning, this mostly consists of piles of paper and paintbrushes. Later, some plastic material, easy to shape, can be provided. There are two ways in which the teacher can introduce creative expression. One is to encourage the student to freely draw anything he wants or that comes to the student. Speaking and writing expression should also be encouraged.
Another method is to inspire the student with a starting idea or suggestion and, which leads his imagination into a creative process. For example, the student can be presented with an object, such as a mountain, the sea, a flower, a fruit or an animal and then asked to build a story about it. It has been found that music and sounds can also inspire students, especially auditory types.
“Meaningful” images can also be an effective encouragement. This is fundamental to the “Thematic Apperception Test” (TAT). However, where this test is intended to uncover repressed emotions and complexes, our purpose is to present images with aesthetic value and selected to activate the superconscious mind.
Such images exist in rich variations. One group of images consists of great men or women and mythical figures, who represent “the ideal role models.” Natural objects are another category and to start with you can show simple images that give pleasant associations such as flowers or fruit, later you can show images with larger perspectives, such as high mountains, the water, the sky with stars and galaxies.
Movement provides an opportunity for direct expression, and it brings joy to both children and adults. At first, the teacher can encourage simple rhythmic images, but later have the students freely express various higher emotions, such as joy, amazement, admiration, etc.
The period between the presentation and the active expression can be used for preparation in silence. Even young children like this and accept it, as the practice of silence in Montessori schools has shown. With older children, this “interlude” can be developed into direct mental meditation, in the form of reflection or a quiet “pondering” on the presented topic, idea or image.
The role of the teacher
Although the emphasis is on free expression, this does not mean that the teacher’s role is reduced to an almost passive function; on the contrary, active cooperation and a lot of skill are required. The teacher must try to create a positive psychological atmosphere with good contact with the students and a good class atmosphere. Next, he must encourage and value the ongoing work.
Another and very important and difficult function is a precise interpretation of the symbolic, and often hidden, meaning in what is expressed. It is part of the exciting and interesting part that even adults often have no idea or conscious understanding of what they have expressed. This often happens with dreams and one of the goals of psychoanalysis is to interpret them. But the controversy that this can provoke indicates that the correct interpretation does not come easily. It requires a great knowledge of psychology and a thorough study of symbols and the individual and collective meaning of these. An open mind is required, which is not filled with prejudices from different theories and an intuitive feeling and finally great caution in formulating an interpretation.
Sometimes the symbols contain a direct message. It gives a clear picture of the person’s existential or central problem and how it can be solved. In such situations, the correct “decoding” has a crucial educational significance.
Application of psychosynthesis methods
A large number of progressive teachers have experimented with creative expression and have used it to a greater or lesser extent in their work. There is no need to single out these in the United States, as they will be familiar to the reader of this journal. The limitations of this article permit me to mention only
a few in Europe and one in South America. Creative expression has been developed in Montessori schools. Personal expression through movement is the basis of the Dolcroze Institute (Geneva) and eurythmy in the Steiner schools. Professor Sofia Vignoli (Arezzo, Italy) uses expressive dance and psychodrama. The “Ecole d’Art Martinot” (Paris) deals with most expressive techniques, but with artistic purposes. Madam Berge (Paris) has developed a method of bodily culture designed to develop the psychosynthesis of students in combination with other psychosynthetic techniques.
The fieldwork done by the Argentine Maria Zazo Bonomo requires a brief comment. Her experiments with the use of creative imagination and expression have taken place over several years, mainly with groups of students from 4 to 14 years old, most of them uncultured and picked up on the streets.
Here is one of the techniques she uses. After a few minutes of silence in the classroom, she will begin a story and then ask each student to add a piece by visualizing the scene he or she suggests. For example, she says: “Let’s imagine ourselves by the sea, what do we see?
Or – A sunrise is approaching, what does it reveal? Each student then comes up with their own suggestion.
This group activity is very interesting for the children and gives them a feeling of being co-authors of a collective action. Signora Zazo also uses some bars from a simple piece of music, such as those written by Schumann for children, to simulate them. She also helps them appreciate the beauty of poems, colors and their combinations, and the shapes of simple objects.
Her results have been very encouraging, releasing pent-up energy (catharsis), joy, improved behavior, self-discipline, cooperation (sometimes the older students spontaneously help the younger ones), and the discovery of artistic abilities. Some of the students have later become designers, decorators, or architects.
Conclusion
In conclusion, I am convinced that the value of creative expression can be considered well established. Therefore, I would like to emphasize that what is greatly needed and should be considered with great seriousness by all teachers is not so much theoretical discussion or analysis, but the practice of creative expression in all forms of teaching and in family upbringing.
One of the most important goals of education will thereby be achieved; to unleash and bring forth the great human potential that exists within every human being, undiscovered and unused at the unexplored higher levels of man.
References
- Anderson, HH (editor) Creativity and its Cultivation , New York, Harper, 1959
- Assagioli, R. Dynamic Psychology and Psychosynthesis , found in the book Psychosynthesis, Living Wisdom, 2005
- Self-realization and psychological disorders , found in the book Psychosynthesis, Living Wisdom, 2005
- The teaching of gifted and highly gifted children can soon be read at www.psykosynthesis.dk
- Maslow, AH Toward a Psychology of Being , New York, Van Nostrand, 1962
Note: Also read Diana Whitmore’s Psychosynthesis in Education
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