Art Therapy as Emotional Outlet

Creativity supports and encourages an illuminating and life confirming source (Winnicot, 1971). Gold and Oumano(1998) describe the source as being the deepest part of an individual known as a combination of what Freud termed as the unconscious and Jung recognised as the collective unconscious; also referred to as the psyche and the soul by psychotherapists and spiritual seekers (Gold and Oumano, 1998).Individuals seek meaning of our actions and unconscious motivations (Tweedy, 2017). Creative experience helps emotional expression (Niff, 2004), that improves a person’s ability to express and cope with their feelings and who they are (Hogan, 2001). Research shows that when a person is fully engaged, a highest level of intelligence is stimulated (Rogers, 1993).Hogan (2001) found that: ‘For centuries medical practitioners and the public had believed that arts could contribute to the alleviation (and sometimes the exacerbation) of physical conditions’ (Hogan, 2001, p.52).

However, countless reservations prevent us calling upon such moments and leave us devoid of resources (Wieland – Burston, 1992). For instance, fears of criticism or being misjudged hold an individual back from using their innate creativity (Rogers, 1993).Williams (2014) found that: ‘Art therapy provides an outlet for feelings and thoughts without language through colour, shape and images, and can be used as a diagnostic tool’ (Williams, 2014, p.5). Wieland-Burston (1992) proposed that art does not need to be beautiful nor does it need to meet up to anyperson’s expectations (1992). A widely accepted hypothesis of an oneiric atmosphere (Wieland-Burston, 1992), whereby emotions and feelings are articulated, pre-reflexive, pre-conceived; is that often a physical experience and essence of a unique individual (Rogers, 1993). Winnicott(1971) found that: ‘In playing and perhaps only in playing, the child or adult is free to be creative’ (Winnicott, 1971, p.100). However, Gold and Oumano, (1998) argued that: ‘But many of us are cut off from that effortless expression’ (Gold and Oumano, 1998, p. 9).

Throughout the 20th century the creative arts found more of a significant role within a whole diversity of worldwide schools and arenas; using a variety of arts such as, sculpting, drawing, sand tray and many more (Rogers, 1993). Rogers (1993) concluded that: ‘The expressive arts are ancient forms being resurrected to bring much needed integration and balance into our world’ (Rogers, 1993, p.14). Thus, it is a regulator for calming emotional arrestment (Prendiville and Howard, 2017). Mc Niff (2004) stated that: ‘The experiences of people everywhere and throughout world history affirm that art heals’ (Mc Niff, 2004, p.7).

Working with the expressive arts in the Humanistic model places the Rogerian therapeutic relationship and the Humanistic principles at the heart of the counselling ethos (See Appendix I) (Rogers, 1980) and cultivates a sense of freedom and independence, whereby the client can feel liberated from expectations and pre-set forms (Wieland-Burton, 1992). Wieland and Burton (1992) found that: ‘It means getting involved in unforeseeable circumstances in which anything could potentially happen. It helps to stimulate the sense of excitement that we feel in an unknown situation (Wieland and Burston, 1992, p.17/18). Furthermore, Merry (1999) attempts to establish the importance of how the person-centred counsellors’ values offer clients therapeutic relationships based on authenticity, understanding and a non-judgemental attitude; which are necessary conditions to engage in the expressive arts (Merry, 1999). Rogers (2004) concluded that: ‘to expand, extend, become autonomous, develop, mature – the tendency to express and activate all capacities of the organism, to the extent that such activation enhances the organism or the self’ (Rogers, 2004, p.35). In addition, Scholl et al,(2012) found that: ‘Creativity can be a healing agent that opens the pathway to self-actualisation, the penultimate humanistic goal’ (Scholl, et, al, 1980, p80).

The expressive arts models(Rogers, 1993) core concepts underpin the person-centred philosophy and core conditions (Appendix II) (Mearns and Thorne, 2007). Principles such as: ‘People are naturally creative and unique’, are particularly relevant (Appendix I).The expressive arts stimulate brain wise responses to help individuals of all ages experience recovery, reparation and well-being (Estrella, 2005). Gold (1998) argued that: ‘Whenever energy is suppressed in one area of our expression, it always expresses itself in an exaggerated, distorted and self- defeating form in some other aspect of our life’ (Gold, 1998, p.94).Natalie Rogers (1993)examines what helps clients to go deeper into their feelings and thoughts based on the client centred approach (Rogers, 1993) and is concerned with the value of following the person-centred principles and reflects in her work the importance of having faith in each individual and that humans hold the answers within them if given the right conditions (See Appendix I) (Rogers, 1980).

Rogers (1993) found that: ‘Therefore, as we journey inward to discover our essence or wholeness, we discover our relatedness to the outer world. The inner and the outer worlds become one (Rogers, 1993, p. 8). Natalie Roger’s (1993) therapy displays a most natural extension to her father’s theoretical method and postulates the process of a belief system between body, mind and emotional spirit, where she has woven person centred principles into her personal and professional lives and has been put off by the words methods and techniques (Rogers, 1993). Natalie Rogers (1993) practises the person-centred approach to facilitate therapeutic growth, whereby openness to learning from new experiences is measured as one of the main indicators of optimal functioning experienced through art, music, movement and other modalities, defined by Rogers (1993) as the creative connection and person-centred expressive art therapy (Rogers, 1993). Rogers (1993) concluded that: ‘When we reach our inner core, we find our connection to all beings’ (Rogers, 1993, p. 4).

This approach involves being process intensive, hereby entering a client’s emotional world and helping clients to discover something about themselves and not to be concerned with the process of making the art, but to pay attention to what the person is unconsciously or consciously expressing (Naumburg, 1974).Rogers (1993) calls this the creative connection process, where the clients become co-creative and collaborative and can access their higher purpose and powers (Rogers, 1993). Rogers (1993) stated that: ‘Clients report that the expressive arts have helped them to go beyond their problems to envision themselves taking action in the world constructively’ (Rogers, 1993, p. 3).

However, Natalie Rogers (1993) also recognises that not all her work is underpinned by Carl Rogers (1980) and identifies many theorists such as Jung and Maslow within the expressive arts that value of ‘self’ and personal integration (Rogers, 1993). Edith Kramer (1916-2014) was the first person to accept this school of thought (Gerity, 2000). Once unknown aspects of self are brought to awareness through the Humanistic expressive arts modalities, the process allows for an improved experience of ecstatic universal wholeness connecting to all life forms (Rogers, 1993).Carl Jung (1875-1961) brought Humanism into therapy, moving away from Freud’s view of the unconscious and that neurosis is always seen as being developed in childhood. Jung’s concept of the psyche and collective unconscious contain archetypes which come out in the symbolic play within all of the play modalities and equals a cathartic process, whereby meaning and resolution can appear in threads and spiral effects (Rogers, 1993), known as Psychoanalytical and not Psychodynamic.

This symbolic playing out can be linked to Klein’s idea of Identification and Projection (Samuels, 1985), whereby the inner world is bridged to an external form, which Jung called the transcendent function (Samuels, 1985). The transcendent function intercedes between a person and possibilities of change by providing choices and not answers (Samuels, 1985). Samuel (1985) found that: ‘Whilst internal objects must have an archetypal component, they also derive from the external world and hence they are not structures, nor do they have predisposing power of the archetype or innate pattern’ (Samuels, 1985, p. 42/43). In addition, Weinrib (2004) noted that: ‘the creative elements in the psyche which can overcome a conflict situation not soluble by the conscious mind, by discovering a new way, a new value or image’ (Weinrib, 2004,p.214).

Rogers work placed more emphasis on present circumstances, as well as the hopes the client entertains towards the future, which supports the Humanistic principle point six (see appendix I) (Samuels, 1994).Silverstone (1997) stated that: ‘It is based on a philosophy which empowers the person and helps to make them more self-directed’ (Silverstone, 1997, p.3).The Jungian concept of the conscious persona or soul self is a product of individuation, known as the psyche and is one of Jungian archetypes, which signifies the unification of the unconscious and conscious in humans (Samuels, 1985).Individuation is the sole purpose and being of the Self (Stevens, 2001). Working with the arts is symbolic, the Self is symbolised by the circle, the mandala or square (Jung et al, 1968). Adler (1996) found that: ‘The circle, one of the first forms known by men and women, is a shape within cultures that continues to hold the life of the spirit’ (Adler, 2002, p. 152).Jung (1939) recognised the collective unconscious presented themselves archetype behaviours and patterns, presenting a model of personality referred to as the jigsaw (Jung, 1939). In addition, Stevens (2001, p.61) stated that:

To the self, Jung postulated archetypal components which play specific roles in the psychic development and social adjustment of everyone (Stevens, 2001). These include the Ego, Persona, Shadow, Anima, And Animus (Stevens, 2001, p.61). Jung’s conception of self was to encounter life’s meaning and purpose (Samuels, 1985).

However, Sue Jennings (1999) argued that archetypal components did not exist (Jennings, 1999). In addition, Holt(1987) argued that: ‘If, with Jung there is a tendency to identify our unknowing as denial and privation, then it leads towards what Paul Ricoeur has called a ‘hermeneutics of suspicion’ (Holt, 1987, p.44). Additionally, Dry and Glover (1985) disagree with archetypal components and the weight given to fairy tale, myth and legend and are not in agreement with the idea of an archetype being a blueprint for experience (Samuels, 1985). Similarly, Fordham (1985) argued that: ‘Too great a concentration on the archetypal content causes one to lose contact with the personal context’ (Samuels, 1985, p. 35). However, Fordham did recognise how the psychosomatic qualities of Jung’s archetypes fit together with how infants experience things through their bodies (Samuels, 1985).

Moreover, expressive arts are experienced in such a way that the Person Centred and Psychotherapy Experiential Scale psychological holding (PCEPS 1-10) and specifically (PCEPS 9)(see Appendix III) are the foundations of working in this model and that it does not give a power imbalance and works with story and feelings of an individual(see Appendix III) (Sanders and Hill, 2014). Proctor (2013) stated that: ‘The politics of the person centred approach is a conscious renunciation and avoidance by the therapist to influence the client in a certain direction’ (Proctor, 2013, p.87). In addition, Tweedy (2017) argued that: ‘This negotiation of realities (where “negotiation “also has the meaning of crossing tricky and dangerous terrain), I would argue, constitutes an authentic and viable psycho-political practice’ (Tweedy, 2017, p.39). Natalie Rogers (1993) noted how the bridging of feeling or unconscious material can move across into conscious awareness (Rogers, 1993).

Rogers (1993) found that: ‘These arts are potent media in which we discover, experience, and accept unknown aspects of self’ (Rogers, 1993, p. 3).Moreover, Proctor (2002) stipulated how the qualities of trusting the client’s process in person centred therapy allows for the non-directive attitude to be expressed without client disempowerment (Proctor, 2002).Glaveanu, (2012) found that: ‘this change is neither random nor disconnected from the past, it effectively constitutes a creative continuation of what exists in ways that constantly bridge the gap between performance and potential, between the here-and- now and the not—yet-here’ (Glaveanu, 2012 p.15).

Research points to major criticisms in primary reasons for healing not being completely noticeable. Thus, ambiguity around whether healing occurs due to the positive interactions with the therapist or from the creative process itself (nice.org.uk).There is limited research in empirical studies and especially concerning is that published studies tend to focus on immeasurable qualitative benefits and lack empirical evidence in support of the efficacy of the approach (nhs.co.uk). However, vast research evidence points to the healing benefits (nice.org.uk). Cooper (2008) found research by Goldfried (1997) stated: ‘Humanistic approaches, for instance have shown some superiority in the field of play therapy’ (Cooper, 2008, p. 50).However, in Britain the contemporary counselling NICE guidelines do not allow this more holistic approach and favours the more scientific approach of CBT (nice.org.uk).

Several scholars have conducted research on the efficacy and healing benefits of the expressive arts for many client groups and organisations (Clift and Camic, 2016).For example, in supporting client groups with post-traumatic stress disorder (PTSD) one survivor in a study conducted by Fabian (2017) expressed that: ‘working with an art therapist has been a life saver’ (ptuk.com).In addition, Hassan, reporting for the BBC, documents the support given to veterans with art therapy through the charity Combat Stress (bbc.co.uk). Richard Kigdel (2011) expressed that: ‘What surprises me is that while I’m drawing, I don’t know what it is – they’re just images, but by the end of the session I’ve made a complete story’ (bbc.co.uk)

Research by Levine (1997) observed that our culture displays an intolerance towards the emotional vulnerability a traumatised individual experience (Levine, 1997). Levine (1997) found that: ‘Little time is allotted for the working through of emotional events’ (Levine, 1997, p. 48).Levine (1997) conducted studies on how the interplay between feelings, sensations, thoughts and perceptions builds upon a person’s tolerance to extreme sensations and improves reflectivity and self-awareness (Levine, 1997). Thus, the expressive arts provide individuals a safe outlet for facilitating recovery from traumatic experiences and enable transformation (Eaton, et al, 2007).

Traumatic life events and even common experiences can lead to post traumatic stress disorder (nhs.co.uk). Gerhardt (2015) provides an overview on how the brain plays a major role in monitoring and regulating experience and noted the worst stresses known to humans when experiencing the loss of an attachment relationship, traumatic experiences or biochemical responses; which can cause psychological distress (mind.org.uk).When working in the expressive arts, therapists do not challenge trauma directly, if trauma is to be transformed (Rogers, 1993).Research and theory by Pennbaker(1999) and others point to how expression of trauma related feelings through a client collectively tapping into their psyche can lead to resolution of suffering and improved wellbeing (Moore and Watson, 1999). However, Levine (2010) argued that: ‘If we make the mistake of confronting trauma head on, then Medusa will, true to her nature, turn us to stone’ (Levine, 2010, p.35/36).Hence why it is vitally important to offering the core conditions within a safe therapeutic relationship (Clarkson, 2003). Yet, Duncan et al, (2010) correctly observed that: ‘it is the clients who make therapy work’ (Duncan, 2010, p.95).

Furthermore, something happens to the attachment in the brain when a therapist offers a secure relationship (Rogers, 1993), whereby clients emotions can be held, and the therapist can be present to bridge the energy and blocks of the clients journey, without being overwhelmed (PCEPS 9, 2014)(see Attachment III) (Bowlby, 2005) .Gerhadt(2015) argued that: ‘In other words, if love can be found, it still has the power to shape a new reality’ (Gerhardt, 2015, p.27). Moreover, Wieland-Burston (1992, p.15) concluded that:

In allowing oneself to be led on by the unexpected, the accidental, one makes room for the discovery of new, previously unsuspected images and ideas. New combinations appear before us. Uncontrolled by our conscious will, they find juxtapositions that can be unusual and even inventive (Wieland-Burston, 1992, p.15).

In agreement with Rogers (1993) it is difficult for me to articulate the words of the exact meanings conveyed through the expressive arts process (Rogers, 1993). Therefore, sharing my personal experience with the clay and sand tray approaches with illustrations and detailed countenance, I am hoping to throw light on the pathways tomy secret garden (Rogers, 1993). Hereby, hoping to enable a form of vicarious experience and insight, where I learnt to receive genuine love and appreciation of my highest self (Gold and Oumano, 1998).Rogers (1993) stated that: ‘Being authentic or true to our highest self is a straighter path to receiving genuine love and appreciation’ (Rogers, 1993, p. 22). Winmill had the view that Counselling and psychotherapy can only be defined authentically within the process itself and know what it is when you experience it (Feltham, 2002). So, let’s look at empirical evidence of my own personal experience.

Prior to this module, I already found myself making use of the expressive arts and inviting my clients collaboratively to engage in creative expression through metaphors, drawings of thoughts and feelings, selecting images of art post cards and drawing for clients to gain further insight. I have always valued and found it has come natural to me to work in this way. However, I do not think that you can believe it, until you experience it. Not until further experience with the expressive arts; especially with the clay therapy (see Appendix V) and sand tray therapy (see Appendix VI), my passion for integrating this work exuberated. Weinrib (2004) found that: ‘Sandtray therapy accelerates the process since to some extent it seems to bypass the resolution of complexes, integration of the shadow, and the differentiation of the negative and positive aspects of the animus/anima. It moves in more direct line to the constellation of the Self and the realization of the ego’ (Weinrib, 2004, p.82).

One must experience it, to be able to truly appreciate quiet how much meaning this way of working can bring.

I experienced the insight that was bought into my awareness, the movement and the focus that stirred up within me through the clay therapy (Henley, 2000). I would have never thought how such resolution and insight can be gained through a thirty-minute exercise. I believe that one would never or very unlikely come to such in depth insight working through within talk therapy alone. This really does enrich the counselling work. I feel that this work needs to be engaged in, once a therapeutic relationship is established and you can feel trusting, you feel the client trusts themselves, you and the process and the client needs to feel safe in a held place to express and be themselves. I think the clay is exactly that – an expression of Self (Jung, et al, 1968). Norcoss (2002a: 8) in Cooper (2008, p.101) stated that: ‘The therapy relationship is like a diamond composed of multiple, interconnected facets…a complex reciprocal and multidimensional relational factors’ (Cooper, 2008, p.101).

In my experience (see Appendix IV,V), it was an expression of my psyche (Rogers, 1993). To begin with, I was unsure on what I was doing/making but trusted the process of not consciously making and stayed more with my bodily sensations and was aware of coming in and out of conscious and unconscious processing (Rogers, 1993).I felt present sensing and making through feeling and sensation. Once my object started taking shape, I felt my heart slightly racing a little faster, I felt emotional, had tears and wanted to cry. This was the only module that I experienced such intense emotion and insight. It really touched in on my whole self and it gave a sense that the object I was a representation of me- my psyche. That was my process, my hero’s journey and profoundly emotional (see Appendix IV,V). Realising the senses to my creation, moved me –a metaphor like I was holding myself (Bartal, et al, 1993). I comprehended that I became a creator of my own life and not a victim of external forces (Bartal, et al, 1993). Bartal, et al (1999, p. 9) concluded that:

Symbols, metaphors and archetypal images have become the threads of our lives, they mediate between the conscious and the unconscious bridging what is hidden and that which is visible (Bartal, et al, 1999, p.9).

Immensely moving to create something that feels like you are holding yourself. I was on my own and my work was not witnessed. I was alright with myself, holding myself through the PCEPS (Sanders and Hill, 2014) and witnessing myself. The more I analysed the object, I realised how it related to the theory (Rogers, 1993), bringing further insight and meaning. Not realising that when I was playing with the clay, that the ball in the centre had to be round, had to have movement, which relates to the circle symbol of Self (Jung, et al, 1968). I used a leaf stem to attach to the clay stem. This was significant, because like a thread/ pattern of previous work where I also made a circular moving ball. It resembles me, I need to be fluid and sense my fluidity, not stuck or rigid – a sense of bridging across. Spiritual growth is development as much as it is emotionally and physically (Adler, 2002).

I felt what I created is my Self and possibly, the area which I left blank intentionally, has been the room for further development and is indicative of the unknown, I am unclear to the exact meaning of such a realisation. Perhaps it is my shadow self (Bartal, et al, 1993). Schneider et al (2015) concluded that: ‘The self comprises us and yet is undeniably beyond us’ (Schneider, et al, 2015, p. 129). Knowledge that I have created almost fully and the experiences that have made me who I am today, touched in on me and stirred me up with warmth, a flow of energy and a stream of emotions with a sense of internal strength. My golden flower represents positivity, gratitude, resilience and transformation and a process of bridging unconscious into conscious, known as transcendent function (Jung, 1968). Bartal(1993) concluded that: ‘Symbols are tools and we have the vehicle of the psychic transformation of energy’ (Bartal, et al, 1993, p,11).

The red thread, a metaphor by Mearns and Thorne (2007) represents to me life’s forces, experiences, traumas that have equally injured and strengthened me, I named ‘the flower of positivity and resilience’. It symbolises my strength but also my fragility. A fascinating experience I shared within my PPD group (Rose, 2008). I expressively connected with others the understanding of what came out of this work and felt it needed to be shared, which built upon further insight (Rogers, 1993). I felt comfortable sharing a sense of vulnerability and I suppose that is where the beauty comes in with doing this work, where a client’s story can be witnessed. I highly value the expressive arts, especially with clay and sand where I am in touch with nature. Its fundamental to me to be connected to nature, clay and sand allow a person to be in touch with the earth (Rogers, 1993). Both very influential and give a lot of insight and are both modalities that I will be using in my practice (BACP, 2001/2002).

I witnessed my client making use of the clay as I sat making my clay piece and focusing on consciously not meaning making. I have verbal permission of my client to refer to their clay work/photograph and the insights and process that my client expressed and externalised (see Appendix VII). I allowed my client space and observed my client’s expressions and attuned to them during the process. I noticed myself having an added protective approach towards my client as I wanted to be sure that my client felt safe and had an increased sense of psychological holding (PCEPS 9) (Sanders and Hill, 2014). It appeared that my client made use of the therapeutic work with their mind, body and spirit (Rogers, 1993).

I noticed my client taking deeper breaths, holding the clay formation tightly and closing their eyes in deep thought and focus as though they were guarding the finished piece. It is the behaviour in this activity that clients bridge to their unconscious (Rogers, 1993). My clients expressed noticing how heavy the clay felt in their hands and that the weight shifted through their entire body. My client concluded that ‘there was a real sense of a heavy burden and equally a sense of being uplifted - a powerful feeling of protection’. I checked in with my client about his or her feelings before they left the session to make sure my client felt regulated (BACP,2001/2002). My client expressed getting a lot out of the clay therapy and this was explored within several sessions afterwards. It gave insight to his or her needs and desires to protect his or her family and keep himself or herself and the family united.

I did not interpret my clients clay in a way other than offer the core conditions (see Appendix II) and listened empathically to the personal consciousness and client’s story that emerged and explored the meanings together (Rogers, 1993).I was more focused on my client’s behaviour and expressions during the process (Rogers, 1993). I could relate due to my own experience and travelled with them on their subjective journey (Rogers, 1993).However, I did not assume any meaning to the clay, but saw the connections in the clay that related to theory, especially when we explored the process later and I asked my client what colours they would give parts of the object (Rogers, 1993). My client mentioned the colour red for the connective threads to the balls linking to the red thread theory (Mearns and Thorne,2007).

Now, that I have experienced the expressive arts myself, I am noticing it more in my client’s symbols, patterns and metaphors and in the stream of consciousness where my focus is on being present without focusing too intently so as to not risk losing the consciousness. I travel with the client on his or her journey - a subjective experience and check the personal thoughts and feelings of this journey into language, before relating to the archetypal. Once I have established a solid and trusting therapeutic relationship where I get a sense that my client would benefit from gaining further insight and meanings, I collaboratively explore this together with my client (Clarkson, 2003).A Phenomenological approach built around utilising empathy as a therapeutic condition – Sanders and Hill (2014) found that: ‘It puts the client’s reality, their narrative or story at the centre of the therapeutic endeavour and the only way into this story is being empathic’ (Sanders and Hill, 2014, p. 134).

I relate wholeheartedly to the Jungian theory, which I feel has intertwined within my integrative Humanistic counselling role and has enriched my philosophy, knowledge and practice around the core conditions of person-centred therapy and enriched my knowledge on linking theory to my client work and gaining a pluralistic perspective around theory and the cathartic experience of the expressive arts on the complexity of human nature (Rogers, 1980). Thus, support clients gain further insight to their inner and outer world (Rogers, 1993), which is safely touched in on and explored within the therapeutic relationship (Clarkson, 2003). Using the expressive arts comes natural to me, where I feel comfortable in applying and engaging with the specialist approaches with a sense of having fully embodied it. Rogers (1993) stated that: ‘Using expressive arts to enhance and deepen verbal psychotherapy is a natural evolution’ (Rogers, 1993, p.95). However, I am aware that I am selective when to use it and to which client I get a sense it may or may not be suited and it feels absolutely essential to have entered my clients world through the person centred theory and have established a relationship built on the core conditions, hereby collaboratively exploring with my client and being congruent, where I feel genuine and trusting of the process and my clients ability to register and find meaning. Norcoss (2002a: 8) in Cooper (2008, p.101) stated that: ‘The therapy relationship is like a diamond composed of multiple, interconnected facets…a complex reciprocal and multidimensional relational factors’ (Cooper, 2008, p.101).

Being creative and connected to one self and other human being is part of human’s existence. From the moment of conception, a human being’s DNA print shares hereditary connections to many generations that have survived the forces of nature, restrictions and contemplations that cannot be spontaneously mastered. Der Kolk concluded that: ‘Our sensory world takes shape even before we are born’ (Der Kolk, 2014, p.93). Over centuries Human beings suffering has related to great difficulties and resistances. In the moments that humans accept their weaknesses and regard their anti-hero being as the essential equal part of the hero they long to be. Thus, creative solutions originate and set free accessible powers to a higher purpose, joining humans together to other cultures; the world and nature with compassion, where we are all one (Rogers, 1993).

There is much to be learnt from the use of the specialist Humanistic expressive arts therapies, whereby an adult or child benefits from communicating an expression where words cannot (Rogers, 1993). Fundamental to self-healing in this approach is that therapists operate from a Humanistic position, which holds an optimistic view of human nature and encourages an individual to be responsible for their own fate (Rogers, 1993). The creative connection process accelerates the life long process of realising one’s full potential (Weinrib, 2004),where we bring meaning to our lived experience (Jung, 1995). (Schneider et al (2015) concluded that: ‘It is becoming increasingly necessary for humanistic psychology to understand how this lived experience occurs in a network of relationships and in a larger planetary context’ (Schneider, et al, 2015, p. 733).

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