The Trauma Therapist Project guest host series presents this interview with Cornelia Elbrecht interviewing Sabâ Başoğlu on Clay Field Therapy.
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The Lemniscate, or horizontal Figure Eight, is one of the core intervention tools in Guided Drawing. It can be introduced by the therapist as a shape to stimulate nervous system regulation. In this case clients draw bilaterally on large sheets of paper; adults, if possible, with their eyes closed. They draw in a rhythmic rising and falling flow, moving from one circle into the next, crossing over the midline from one side to the other.
For most clients this is deeply harmonizing. The rising and falling motion is simultaneously settling and uplifting. The motor impulse can connect the left and right side of the body, as well as the left and right brain hemispheres and synchronize the flow between these opposites.
Children can experience safe flow with this shape. They can move in a structured way without getting overwhelmed if their nervous system tends to get easily disorganized. Some may trace this shape with a finger on a sheet of paper. Others maybe after the therapist has drawn this shape as a racing track, and they can now drive a toy car in the loops. Or they can ‘dance’ the shape with the assistance of gymnast’s sticks.
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Life is rhythm. Every cell in our body pulses in rhythmic repetition. Our breath flows. Our heart beats. Our muscles expand and contract allowing us to move. Blocked rhythm might feel like a lump in the stomach, a stiff neck, or we register it as pain.
When we dance with a partner, joy and elation are generated through synchronizing our movements with each other. When we make love, we need to find mutually satisfying rhythms together. When we fall out of step with loved ones, we suffer from asynchronous patterns, which we tend to identify as rejection or loneliness. We thrive in an environment that offers safe resonance.
Rhythmic repetition is the key feature of Guided Drawing. Not only do clients draw bilaterally on large sheets of paper, and adults preferably with their eyes closed, but most important is the way how clients draw in rhythmic repetition. When we dance to music, our foot taps the rhythm until our body eases into the beat; in Guided Drawing we dance to our own inner music...
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When a client comes into an art therapy session, she will usually begin to tell me why she is seeking support. If she is a recurring client, we will discuss what noteworthy or conflicting events happened in the past week or months. However, before she will go into too many details, I will look out for verbal body references such as ‘this made my skin crawl’, it was ‘heart-breaking’ or ‘I felt sick in my stomach’.
There might be a significant posture such as folded arms, or a hand protecting a shoulder, or sitting slumped over. If this seems to relate to the events my client is talking about, I will ask her to draw these body sensations in rhythmic repetition with both hands, just how they feel: tense, broken, braced, holding on, jagged, painful or otherwise. My client does not have to understand these movements, but just to track them in her body. I encourage her to bilaterally express them in rhythmic repetition, until the movement on the paper feels like the movement in her body.
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At the core of life is a permanent feedback loop between sensory perception of the environment and our response to such information through active motor impulses. Complex early childhood trauma severs or distorts the feedback loop between sensory perception and motor impulses. Clients either act out with lots of motor impulses, but have dissociated the sensory feedback loop, so internally nothing ever arrives. Or they act in, being hyper alert, “oversensitive”, but have shut down most active impulses to fly underneath the radar to stay safe.
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Guided Drawing is a bilateral approach to body mapping. The guidance refers to inner guidance, not to instructions from a therapist. Sensorimotor has emerged as a term to describe body focused psychotherapies that use a bottom-up approach. Sensorimotor Art Therapy encourages the awareness of implicit body sensations in the muscles, the viscera, the heart rate, and the breath. It also encourages to explore emotions as body sensations, rather than through the story attached to them.
The drawing process is not necessarily concerned with image-making but supports the awareness of body memories. While these memories are always biographical, the therapy itself is not symptom oriented. Not the specific problem or crisis becomes the focal point, but the option to new answers and solutions as they are embedded in the body's felt sense…
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The Institute for Sensorimotor Art Therapy was recently invited to participate in the inaugural Art Therapy Conference for the United Arab Emirates (UAE), held in Abu Dhabi over October 17-18, 2023. Our highly experienced Institute faculty members Clare Jerdan and Chris Storm attended the conference, held workshops and presented to the delegates.
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For the last several years Guy Macpherson has dedicated himself to the study of trauma, post-traumatic growth, and most recently, the intersection of trauma and psychosis - specifically assessing and treating signs of early psychosis. He holds a Doctorate in clinical psychology and with The Trauma Therapist Project brings together resources for clinicians and therapist of all kinds who are starting out on their trauma-informed journey.
In this interview Cornelia Elbrecht and Guy Macpherson discuss the hands-brain connection and how at the Clay Field we are able to treat early developmental trauma through an inter-relational touch experience.
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The Philosopher Husserl (1931) formulated phenomenology as a theoretical construct. His interest was to learn what the direct experience of the person is and what meaning they attach to their experience. Husserl recognised that reality is always played out in the present tense, not the past and not the future. That if access is gained to sensory input of a person’s original experience in the here and now, then we would be able to view that person’s subjective reality. By substituting ‘how’ and ‘what’ questions instead of ‘why’ questions he posited that we could avoid interpretation and explanation; rather to be open and aware of the given data and see the client as he is and ‘what is happening right now?’
The study of phenomenology has evolved from the theoretical construct of Husserl (1931) with more ongoing developments in both physical sciences and social sciences (Van De Reit, 2001). The phenomenology of today is a sensory based moment to moment process that is uniquely my own as I interact with and I am impacted by the wider field in the here and now. At the Clay Field this plays out in every session. This interest, curiosity and tracking of my client’s experience in the Clay Field in the here and now supports to deepen the awareness and experience of their reality. There are moments when as a therapist I silently retract, giving minimal encouragement to the client’s action patterns in the clay and as they explore the field...
When the earthquake shook an area the size of Portugal in southeast Turkey and northern Syria, at least 56 thousand people died, 126 000 suffered non-fatal injuries and at least 2.6 million people were displaced. I was asked by the Psychology Department of Ibn Haldun University in Istanbul to speak about trauma-informed strategies to support large groups affected by a natural disaster. An event such as this earthquake is overwhelming for all involved, even the news were overwhelming to watch. And while the world by now has turned elsewhere, the aftershocks for those millions directly affected will last for years, if not a lifetime…
Recently I stumbled on a collection of studies by Dr Jess Bone, a Research Fellow in Statistics/Epidemiology in the Department of Behavioural Science and Health (UCL) and a member of the World Health Organisation Collaborating Centre on Arts and Health. Bone has conducted extensive research with colleagues on the arts and well-being.
These studies include all the arts and not necessarily arts as therapy…
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In a recent group discussion, the question arose about the difference between stabilization and pendulation. The term stabilization in the context of trauma therapy was coined by psychiatrist Pierre Janet (1859 – 1947), a pioneer, who profoundly influenced the work of Freud, Jung and Adler. His approach to treating traumatized clients was a three-stage model that is still relevant today…
Recently I stumbled on a collection of studies by Dr Jess Bone, a Research Fellow in Statistics/Epidemiology in the Department of Behavioural Science and Health (UCL) and a member of the World Health Organisation Collaborating Centre on Arts and Health. Bone has conducted extensive research with colleagues on the arts and well-being.
These studies include all the arts and not necessarily arts as therapy…
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While I was still an Ugly Duckling, secretly reading novels by torchlight underneath my bedcovers, I discovered a world of likeminded Swans, where my spirit belonged. My wild emotions resonated with the music I listened to throughout my teens. I know I am preaching to the converted with this blog, however research always adds another level of credibility to something we seem to know but have no evidence for.
Recently I stumbled on a collection of studies by Dr Jess Bone, a Research Fellow in Statistics/Epidemiology in the Department of Behavioural Science and Health (UCL) and a member of the World Health Organisation Collaborating Centre on Arts and Health. Bone has conducted extensive research with colleagues on the arts and well-being.
These studies include all the arts and not necessarily arts as therapy…
Read More