myths symbols sandplay

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New blog posts. Here. Soon.  Check back often. Topics will include:

The "Telling the Story" Connection

The Sandtray and Therapist As Container

Container Symbolism

Deities of Love

LOVE♥♥♥ I think I have a potion for that

Heart

 

 

 

Suggested Reading List

 

Because a mind is a terrible thing to waste...here are few interesting books:

 

Bolin, Jean Shinoda, Goddesses in Everywoman, Harper and Row, New York, 1985

 

Bolin, Jean Shinoda, Gods and Everyman, Harper & Row, San Francisco, 1989

 

Bradway, Kay and McCord, Barbara, Sandplay – Silent Workshop of the Psyche, Rutledge, New York, 1997

 

Jung, Emma, Animus and Anima, Spring Publications, Dallas, 1957

 

Kalff, Dora, Sandplay: A Psychotherapeutic Approach to the Psyche, Sigo Press, Boston, 1980

 

Mitchell, Rie and Friedman, Harriet, Sandplay: Past, Present & Future, Rutledge, New York 1994

 

Reed, Jeanette Pruyn, Emergence: Essays on the Process of Individuation through Sand Tray Therapy, Art Forms, and Dreams, JPR Publishers, Albuquerque, 1980

 

Leonard, Linda Schierse, The Wounded Woman, Shambala, New York, 1982

 

Weinrib, Estelle, Images of the Self: The Sandplay Therapy Process, Sigo Press, 1983

More Miniatures Posted

New miniatures just posted at my online Etsy shop: Remember That 1 

Male and female figures are there now. Upcoming miniatures will include more human figures, babies, religious figures and items, and structures.

Simply click on the link at the top right corner of the blog home page.  Let me know if you have any questions or if there is anything in particular you are looking to add to your sandplay collection.

Animus

In her book, Animus and Anima, Emma Jung views the anima and animus as two archetypal figures of great importance who belong both to the individual and the collective unconscious. The animus is the masculine principle in a woman's unconscious and may be represented by powerful figures such as heroes, athletes, or jet pilots. Images from the unconscious animus may also appear "either as a plurality of men, as a group of fathers, a council, a court, or some other gathering of wise men".

The positive aspects of the animus are represented as the intellect or accomplishments. The animus may appear as a real masculine figure, distinguished by mental capacities or masculine qualities. The spiritual aspect of the animus according to Emma Jung, is the Father-God image.

 

Other positive aspects include the animus as a benevolent, superior guide or as an understanding friend. When held in consciousness, the animus can help to gain knowledge and balance, according to Emma Jung.

 

The negative aspects include an inner image or energy that is judgmental, a cruel taskmaster, a seducer, and an exploiter. Linda Leonard, in The Wounded Woman, discusses the consequences of dysfunctional relationships with fathers that result in an inner damaging masculine, an animus that caries man negative qualities.

 

Jung, Emma, Animus and Anima, Spring Publications, Dallas 1957

 

Anima

To define and to understand the anima archetype, I went straight to the source. CG Jung, in Memories, Dreams, Reflections, states that the anima is an "inner feminine figure (that) plays a typical, or archetypal role in the unconscious of a man" with both negative and positive aspects. The negative anima aspect is "full of deep cunning". The positive role the anima plays is described by Jung as "she who communicates the images of the unconscious to the conscious mind".

 

Emma Jung viewed the anima as elemental beings such as fairies, nymphs or swan maidens, with qualities "too nebulous and incorporeal to live permanently…in waking consciousness". Emma Jung writes that the anima "represents the feminine personality components of the man and at the same time the image which he has of feminine nature in general, in other words, the archetype of the feminine."

 

In sandplay scenes, anima symbols may take many forms. Items not necessarily in human female form may symbolize the archetypal feminine anima energy. Anima figures in the tray may represent an integration of the feminine and a bringing to consciousness the qualities associated with relationship and nature.

 

(see Bibliography Category for sources)

 

Jung's Theory of Personality (Briefly)

In an effort to understand human nature, theorists have developed and will continue to develop theories of personality. In Beneath The Mask, Christopher Monte writes about personality theory as self-reflection and the necessity of understanding the understander. "When viewed through the personalities who created its main tradition, the history of personality theory exposes human nature reflecting on itself."

 

Following is a brief look up Carl Jung's theory of personality as it pertains to the theme of this blog post: archetypes. Simply stated, Jung's psychodynamic theory views the central human motive as the reconciliation of the opposites. His most basic concepts are: the existence of a transpersonal or collective unconscious consisting of universal images, the construct of archetypes, and the union of opposites. [Jung's theory of personality also includes concepts regarding the personal unconscious, typology (introvert/extrovert), libido, and individuation.]

 

Archetypes according to Monte, result from "the cumulative effect of perpetually repeated experiences. The repetitive subjective emotional reaction to the event is impressed on human unconscious mental processes, and it is this internal state, this predisposition to react in a similar way to repetitions of the physical event, that is transmitted to future generations. Thus, the collective unconscious's archetypes are residue of ancestral emotional life."

 

This idea regarding archetypes is echoed by Estelle Weinrib in her book on sandplay. She states, "Archetypes are innate psychic dynamisms" and are influenced by the individual's subjective response to experiences.

 

Jung devoted much of his life to discovering and defining archetypal images in mythology, dreams, fantasies, and paintings. There is no limit to the number of archetypes; the most common being the Mother archetype, the Trickster, the Hero, the Shadow, and the Anima and Animus. Jung's experience of and conversations with an internal feminine voice, an inner archetypal figure, resulted in his concept of the anima. He called the corresponding masculine archetypal figure in the unconscious of a woman, the animus. Related to Jung's concept of the union of the opposites, was his belief that men and women must recognize their inherit opposites or run the risk of incompleteness. Archetypes usually involve great emotion and, according to Jung, may sometimes take control of the personality and modify behavior.

 

In Sacred Symbols, Claire Gibson offers this definition of Carl Jung's archetypes. Inherent in the individual human psyche is an ancient collective memory, in which humankind's universal experience is symbolized by means of the archetypes, or primordial symbols. She states, "because these archetypal symbols are familiar to us all - on an unconscious as well as conscious level - we respond to them both intuitively and rationally".

 

Karen Signell's book on dreamwork elaborates on Jung's construct with "archetypes can never be logically or rigorously described or actually seen. You can only glimpse their images in dreams or active imagination, or feel the force of their energy." I would add that you can see them in sandplay through the miniatures clients select and even in archetypal designs created in the sand itself. Signell goes on to comment on the Jungian view of archetypes as images and says further that intense emotions accompany them. She wonders if the emotional component has been undervalued because "emotions are hard to put into words" and because of the intense charge and great energy archetypes bring. This energy may be responsible in part for the feelings of numinosity associated with sandplay work.

 

In sandplay, as in dreams, archetypes appear as provided personifications of human potential and are often larger than life. In a sandplay scene, traditional archetypal figures may be replaced and may not be the familiar gods and goddesses of myth and legend. Archetypes may take the form of a mother bear, a naturalist, or fire. Also, archetypes of other cultures may appear in sandplay scenes.

 

Jeanette Pryun Reed writes in her book on sandplay, "As symbols represent more than a sign, so archetypes are more than patterns. They are autonomous." She defines archetypes as having their own energy and as acting within individuals, different in type, intensity, and degree. Archetypes are often seen in the tray and may be represented in many different ways.

 

(see Bibliography Category for sources)

 

Bibliography

Some references/sources are added to the end of individual blog posts. Others will be added to this post as needed.

Biedermann, H., (1994). Dictionary of Symbolism, New York: Meridian

Bradway, K. and McCoard, B. (1997). Sandplay - Silent Workshop of the Psyche, New York: Rutledge

Cirlot, J.E. (1995). A Dictionary of Symbols. New York: Barnes & Noble Books

Cooper, J.C. (1995). An Illustrated Encyclopaedia of Traditional Symbols. New York: Thames & Hudson Inc.

Donleavy-Johnston. S. (2001). Festivals of Fire and Flame. Parabola. Vol 26, 2. pp 22-26.

Eberhard, W. (1986). A Dictionary of Chinese Symbolism. London: Routledge

Gibson, Clara  (1998). Sacred Symbols. New York: Barnes and Noble, Inc.

Gill, S. & Sullivan, I. (1992) Dictionary of Native American Mythology. New York: Oxford University Press

Jobes, G. (1961). Dictionary of Mythology Folklore and Symbols. New York: The Scarecrow Press

Jung, C.G. (1965). Memories, Dreams, Reflections. New York: Vintage Books

Jung, Emma, (1957).  Animus and Anima. Dallas:  Spring Publications

Lockley, R. M. (1964). The Private Life of the Rabbit. New York: McMillan Publications

Miller, M. & Taube, K. (1993). An Illustrated Dictionary of the Gods and Goddesses of Ancient Mexico and the Maya. London: Thames & Hudson.

Monte, Christopher (1987). Beneath The Mask. New York: Holt, Rhinehart and Winston, Inc.

Reed, Jeanette Pruyn (1980). Emergence: Essays on the process of Individuation through Sand Tray Therapy, Art Forms, and Dreams. Albuquerque: JPR Publishers

Signell, Karen (1990). Wisdom of the Heart. London: Rider

Weinrib, Estelle (1983). Images of the Self: The Sandplay Therapy Process. Boston: Sigo Press

Walker, B. (1998). The Woman's Dictionary of Symbols and Sacred Objects. New York: Harper Collins Publishers

Willis, R., Ed. (1998). Mythology: An Illustrated Guide. New York: Barnes & Noble Books