Haptic Perception describes touch-perception. While all artists and art therapy clients work with their hands, little attention has been given to the touch experience, when we work with crayons, paint, collage and clay, or play a musical instrument. However, in a society, where individuals spend increasing amounts of time online, children no longer play much outdoors, but instead press keyboards to engage with virtual realities, the need for psychological answers to this lack of touch connection becomes apparent. Not by accident body-focused approaches have been growing in importance in recent decade, and I am sure, so will haptic perception become an increasingly valuable therapeutic tool.

Healing Trauma

An iceberg can be a symbol of our different memory system. There is the cognitive part visible above the water line, capable to rationalize and symbolize, and there is the huge hidden part floating underneath the surface. Implicit memory systems are not visible and have little words, if at all. They describe our emotions and all other body memories including learnt action patterns such as walking, eating with a spoon, or riding a bike. Our survival responses from the autonomic nervous system are implicit, just as our heart rate is not something we need to think about in order to make it pump our blood.

The Transformation Journey

The concept of a topside world and an underworld is as old as human consciousness. We have the universal experience of day and night, of light and darkness. The day-light, sunny side is associated with what we know, what we can see and what is familiar, also with rational, logic, linear thinking and planning. The nightly dark side is unknown, mysterious and equally fascinating as it is terrifying. Here we perceive with our intuitive mind, processing the surroundings in associative image-based patterns. The night-side is the world of our dreams and the source of creative ideas. This underworld has different layers of darkness, which we can associate with the moon cycles. At full moon we can perceive, often with heightened awareness, what wonders this unknown world entails, whereas the dark moon can be filled with terrors and existential danger.

Rhythmic Movement as a Vital Trauma Response

In recent weeks I find myself watching dance and movement video clips wherever they appear on social media. My soul craves them. On the days when I cannot go out and walk, I turn off all the lights at night, search for streaming Gabrielle Roth and dance to the 5 Rhythms in the dark. The many posts on Facebook inviting me to visit famous art galleries all over the world, to take virtual tours through the pyramids, and glide along the walls of the Sistine Chapel soon feel strenuous, like yet another thing to focus on. My eyes are hurting from too much screen time and the incessant online bombardment with visual stimuli.

A Visual Meditation: The Higher Consciousness

One of the core tools in my practice is a visualisation exercise I learnt in the nineteen seventies from Jungian analyst Phyllis Krystal (Krystal 1995). It is a visual prayer that can communicate a profound sense of safety flowing from a spiritual core that remains undefined or as you like to imagine it. I apply the exercise consistently as a visual aide to picture the client-therapist relationship and how both relate to what she called the ‘Higher Consciousness’. I introduce it to almost all groups I facilitate, and frequently meditate like this on my own.

Somatic Experiencing: Emotional First Aid for Traumatic Times

When traumatic events happen, they challenge our sense of safety and predictability and this may trigger strong physical and emotional reactions. These reactions are normal. Emotional First Aid gives you information on how to help yourself, your family and friends in response to witnessing, hearing or living through the traumatic events.

The Primary Shapes in Guided Drawing: The Lemniscate

Lemniscate is the term for a horizontal figure eight. Of all the primary shapes this is the least threatening. It is without exception experienced as positive rhythmic flow without any threat of overwhelm.

The Primary Shapes in Guided Drawing: The Spiral

The spiral pattern of growth is found throughout nature as rolled-in fern, in shells on the beach, in the shape of an ear, in a fingerprint, the umbilical cord and how an embryo is curled up in the womb.

“Both the winding forms of the intestines and the brain have been depicted in religious and symbolic art as the labyrinth of spiral path, which creates, protects, and lays the foundation of the new town or centre”. (Purce 1992)

The Primary Shapes in Guided Drawing Series: The Bowl

The largest bowl we experience in our body is the pelvis, and while there are other places in the body that can be drawn as a bowl such as the diaphragm or the back of the head, the most common association with this shape is the pelvic floor. The pelvic bowl is the space in which we settle down to relax or which we dissociate, when we are ‘upset’. It is where our spine is anchored

The Primary Shapes in Guided Drawing Series: The Arch

Over the next few months, I will share insights about a couple of the main shapes that characterize this approach but for now we shall take a more in-depth insights of the Arch. The structure of Guided Drawing is based on a number of primary shapes, which all have a universal, archetypal quality.

The Bottom-up Approach

Implicit memory is stored in the brainstem, which is the seat of our ancient survival system. This is the part of our brain that deals with trauma, however, it does this in a predominantly body-based way. The brainstem is strongly influenced by attraction and repulsion. It is being informed through repeated action patterns, such as learning to walk, to ride a bike, or to put a spoon into our mouth. Once we have mastered an action pattern, it becomes part of our implicit memory system and we do not ever think about it, unless someone pushes us into a pool of water when we never had learnt to swim, or an accident no longer allows us to move a limb. In the same way we do not think about breathing, making our heart beat or our muscles to contract and relax.

The Significance of Colour

There are many different ways to approach the subject of the meaning and significance of colour. In art therapy sessions I encourage clients to honour colour in so far as to choose it according to the felt sense.

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