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Transpersonal Section

Transpersonal Psychology Review Volume 19, No. 1, Spring 2017

ISSN: 1366-6991 Editor: Professor Ho Law, Empsy®, Cambridge Group. E-mail: [email protected] Book Review Editor: Vacant Consulting Editors: Waseem Alladin Bishop Grosseteste University & University of Leicester Toni Brennan University of East London and Goldsmiths College Elliot Cohen Leeds Metropolitan University Professor Les Lancaster John Moores University Peter Lloyd Bennett Independent Educational Professor Chris Roe University of Northampton John Rowan Independent Consultant Ingrid Slack The Open University Stuart Whomsley Northamptonshire Healthcare NHS Foundation Trust The Review aims to encourage lively and constructive debate, always seeking to recognise the positive qualities of contributions as well as discussing any limitations or areas of dissent. We ask that any criticisms authors make of the work of others should be as constructive as possible, without losing the force of the critique itself. All contributions should be sent by email attachment to Ho Law at [email protected] and should conform to the ‘Notes for Contributors’, located on the inside back cover. Subscriptions Transpersonal Psychology Review is distributed free of charge to all Transpersonal Psychology Section members. It is available to non-members for £5 per issue from the British Psychological Society, St Andrews House, 48 Princess Road East, Leicester LE1 7DR. Disclaimer Views expressed in Transpersonal Psychology Review are those of contributors and not necessarily of the Editors, the Transpersonal Psychology Section or the British Psychological Society. Publication of conferences, events, courses, organisations and advertisements does not necessarily imply approval or endorsement by the Transpersonal Psychology Section. Any subsequent promotional piece or advertisement must not indicate that an advertisement has previously appeared in Transpersonal Psychology Review. Advertising To place advertising or to find out about rates, please contact Michael Niskin at Cambridge Publishers Ltd (CPL) on 0044 1223 378 045 or e-mail: [email protected]. Situations vacant cannot be accepted. It is the British Psychological Society’s policy that job vacancies are published in the Society’s Psychologist Appointments section in The Psychologist. For details, contact the British Psychological Society’s Leicester office. Copyright Copyright for published material rests with the British Psychological Society unless specifically stated otherwise. As the Society is a party to the Copyright Licensing Agency (CLA) agreement, articles published in Review may be copied by libraries and other organisations under the terms of their own CLA licences (www.cla.co.uk). Permission must be obtained from the British Psychological Society for any other use beyond fair dealing authorised by copyright legislation. For further information about copyright and obtaining permissions, contact [email protected]. Editorial The power of imagery and the of the transpersonal Ho Law

HE Transpersonal Psychology Review cele- approach to psychological distress’. brated the publication of its special issue It draws on Jamie’s clinical and academic Ton ‘Post-traumatic Growth and Spiritu- experience as a psychotraumatologist and ality’ with a launch event on 21 December trauma psychotherapist, and argues for 2016. See the special report in this issue. a biopsychosociospiritual model of anxiety, As those involved in the publication of the depression and post traumatic stress. special issue and the event would probably Colleagues asked me what the special know, for me, the publication of the special theme of this is issue, and I said there issue signifes a completion of a chapter. isn’t one. We have the usual Mindfulness I hope it drew a closure to my bereavements Special Section, this time contributed over the last three years, though there will by Maya Campbell. It explores the origins be ongoing struggles for my sister, and her of mindfulness training and how a more family’s ongoing bereavement, amongst explicit teaching of compassion skills has other things… Nevertheless, I hope the been found to be highly benefcial in health publication will bring them some comfort… and wellbeing. And at the end of the issue, So in a way, the special issue marks the we have a number of transpersonal poems: beginning of an end of a chapter as well as a ‘The Unknowing Knowing’ by Sue Bradley; new beginning of another!. Of course, life ‘Meeting without Masks’ by Steve Taylor; goes on. The Transpersonal Psychology Review and two more by John Rowan: ‘There’s’ will continue, I have focused on this issue and ‘Reminder’. and will focus on the next issue, and so on, Having said that, by reading the papers as an ongoing stream of and contributed in this issue, it emerges to me as the seasons unfold… that the power of imagery (for example, The special issue and the event see the paper by Hazel Skelsey Guest) and invoked a lot of positive reaction and its transpersonal practices seem to invoke support from colleagues. See feedback a call for the art of the transpersonal as a from some of the participants, and the complementary approach (if not the alter- paper by Emma Shackle, which exam- native) to scientifc inquiry into the realm ines the contribution of Donald Kalsched of transpersonal. The paper was developed to the understanding of the relationship collaboratively over a number of years of early childhood trauma to between my former student Nat Clegg and and the issues raised when young children me arguing for such a paradigm shift. You are affected by trauma. I am particularly may not agree with our arguments, but grateful for the support of the Society’s vice I hope you enjoy the beautiful art work that president Professor Jamie Hacker Hughes, is presented by Nat. who provided his opening address at the A fnal note, for those who have enjoyed special event. This is summarised in his our Transpersonal Research Colloquium paper: ‘Towards a biopsychosociospiritual (TRC), you may like to know that the Third

Transpersonal Psychology Review, Volume 19, No. 1, Spring 2017 1 Ho Law

Annual TRC 2017 will be held at the Naprstek TRC 2017 is ‘Spiritual Practices as Research Museum of Asian, African and American Methods: Integrating the Old and New’. The Cultures (www.nm.cz/Naprstek-Museum/) TRC 2017 call for papers is available on the in the heart of Prague’s Old Town Transpersonal Research Colloquium website on 2–3 October 2017. The TRC will offer (www.transpersonalresearchnetwork.com). the opportunity to elaborate, appreciate, and share a wide spectrum of research Ho Law approaches developed and applied for stud- Editor ying transpersonal topics. The theme for [email protected]

2 Transpersonal Psychology Review, Volume 19, No. 1, Spring 2017 The art of the transpersonal: Its psychology and coaching application Nat Clegg & Ho Law

This article outlines an approach to transpersonal enquiry and its application to coaching. It evolves from a personal journey (autoethnography) from the study of fne art principles towards the practice of transpersonal coaching and the actualisation of the theories and principles of transpersonal and coaching psychology respectively. The fow of the journey travels through an appreciation of the creation of art, how to understand art and what this may mean to the individual, the links to some psychological principles and the formation of a methodology which combines the learned elements for the practitioner/ participant (coach/coachee) to understand the in their present condition.

Keywords: art; autoethnography; transpersonal; coaching psychology

HE CREATION OF ART is something the practice of transpersonal coaching, that has been explored and experi- the actualisation of the theories and the Tenced since the dawn of human civi- principles of transpersonal and coaching lisation (Gombrich, 2007) – statements psychology respectively. of what we have done, where we are at, The fow of the journey travels through where we want to be and what we understand an appreciation when creating art of how about the human condition, the existence to understand art and what this may mean of what we may be and of where we are to the individual (the self and the other; possibly spawned. This also encompasses the links to some psychological principles questions of why we exist at all and the and the formation of a methodology, which reason for being, for others, ourselves and combines the learned elements to enable the beyond (transpersonally). Like , practitioner/participant (coach/coachee)) art has always been created as a means to understanding of the self in their present to access the realm of transpersonal condition. (for example, see Somers, 2004; Jung, We shall frst offer a literature review 2009). What does life give and how can which will help to provide a theoretical we represent this via art? As Szasz (1978) basis for our inquiry, and then examine suggests, through the ancient reference a possible application through our personal to healing words, iatroi logoi can help refection and examining some of our the cure of our souls; art combined with coaching practices. conversation could be useful in accessing our self identity and what our purpose in Literature review life may be, as May (1986) suggests we can This literature review aims to explore two reveal ourselves in art. key areas: This article aims to outline an approach ■■ Defnition of transpersonal and its historical to transpersonal enquiry using art as a development – Identify and determine means for transformation (alchemy) and defnitions of transpersonal approaches. its applications (e.g. coaching). It evolves This will include historical references from a personal journey (autoethnography) about the origins and development of the from the study of fne art principles towards term transpersonal.

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■■ Potential issues in the application of of transpersonal psychology by transpersonal approaches – Identify central (Schroll et al., 2011). As Godzdz (2000, issues and opportunities for transpersonal p.1266) reminds us: approaches. In particular, for coaching how people make sense of their personal Psychology is one discipline that encompasses and social world when using transpersonal discrete world views and refects an increasingly psychology? This will aim to defne the comprehensive view of humankind. Sutich application of transpersonal psychology (1980) and Valle (1989) suggest that and suggest future research. psychology has emerged through four forces. The four forces have been variously described Defnition of transpersonal and named; for our purposes, they are and its historical development psychoanalytic, behavioral, humanistic, and There has been some controversy as to the transpersonal. origins of the term transpersonal, related approaches, and in particular transper- The domains of this psychological spiritual sonal psychology. There is a view that infrastructure were further formed by the was the frst pioneer and it is innovational work of William James, Jung, suggested that he explained the defning Maslow and Assagioli (Rowan, 2005). James features of transpersonal orientation that understood the existence of the spiritual supports our understanding today (Ryan, self even by use of drugs to open up the 2008). In addition, James was the frst unconscious (Rowan, 2005), which was to record the term in his lecture notes, later part of the others’ experimentation. at 1905. However, ’s work with LSD and schiz- others have dedicated the original spoken ophrenia (Grof, 2010, p.3) in the 1950s use of the term to (Guest, 1989). surfaces here, which preceded his drug In spite of the differences that prevail as to free holotropic breathwork (Grof, 2010, when the term originated it has gradually p.7) and the realisation of traumatic stages become a recognised term in the psycho- in the birthing process. Greater realisation logical discipline. emerged by understanding that it requires The feld of transpersonal psychology more than stimulants to experience the hosts a range of methodological approaches core being and greater self. As far back and areas. These domains generally aim as James’ work in 1896 he recognised that to forge together the learning of modern we could become aware that there is a psychology and the wisdom of spiritual higher self that we can become conscious traditions, as Cortright (1997, p.8) posits of, and that ‘this higher self becomes two answers to the question – Who am I? conterminous and continuous with a more A spiritual response would be that we are of the same quality, which is operative ‘a spiritual being; a soul’ and a psychological in the universe outside [oneself].’ (Rowan response being that we are ‘a self, an ego, 2005, p.28) a psychological existence’. We agree with With Jungs’ departure from and both these defnitions and believe that this the associated further work of Assagioli, is a simple explanation that helps us defne transpersonal psychology developed, the difference between a psychological revealing that there were other realms to our defnition and something more theolog- psychological map (Battista, 1996). This ical. Transpersonal psychology attempts provided a wider playing feld for transper- to respect the learning of both psychology sonal work and access to the self – which and spiritual tradition. This concept has also provided exploration for what entry been challenged and has also been revised; points could we have for using transper- an example here would be the reassessment sonal approaches and what considerations

Transpersonal Psychology Review, Volume 19, No. 1, Spring 2017 25 Nat Clegg & Ho Law are needed to accomplish this. , psychology (Cortright, 1997), has generated metaphors and collectively shared some disagreements in the transpersonal feld have become accepted objects and ideas particularly where theology is concerned. that are used for self-exploration to the This has given rise to debate about whether process of accessing the self. Jung would transpersonal approaches should review say that the self was a homeostatic function some of its terminology and defnition, that integrates the conficting parts of our raising concern that there could be defcits towards balance; our self-symbols in the model’s design, with particular criti- are representative of these parts, and cism levelled at his ideas around different ultimately all of existence (Jung, 1965). hierarchies between different theistic reli- Assagioli brought to light the existence gious experiences, which seem unintention- of sub-, part of the psycho- ally to devalue certain forms of religious synthesis process. It has been proposed tradition over others (Daniels, 2001). that the self-image is ‘ultimately inef- To this effect, Wilber’s work has been fable’ (Goodwyn, 2012). This could mean accused of being procrustean and that his that the defnition of the self is too great endeavours are treated with some scepti- to express in words because there are too cism. Another view about Wilber’s model many contradictions. On the other hand is that he tries to include quantitative and there is an argument that we do not need qualitative methods, bringing together spir- to try and defne the absolute , but itual concepts and practices, which purports we can describe elements of the greater something more scientifc and measured; self, and in turn this can help us to articu- an integral system. If we were considering late our understanding. This does not deny measurement, then we should also look us the experience of other realms of the towards the views of scientists (Davis, 2003). Self (Baud, 2002). If we consider transpersonal approaches What do we know about the impor- as belonging to the unifcation of psychology tance of the search for meaning, and how and , then it is useful do we appreciate and experience our levels to recognise that we have made some signif- of consciousness at the gross, subtle, causal cant paradigm shifts towards accepting the and nondual levels? (The gross level being spirit and psyche from the scientifc commu- our physical ; the subtle level, which nity. Victor Schermer, a psychotherapist and can refer to our transpersonal self (Rowan, self-professed scientifcally minded sceptic, 2010); and the symbols, metaphors and for many years kept the ideas of spirituality mystical experiences which also takes into apart from his research and therapy with account the possible existence of us operating his clients, frmly believing that phenomena as numerous sub-personalities (Wilber, 1990; were explained in terms of biology and Rowan, 2000)). The causal level is proposed cultural evolution. However, he experienced by Wilber to be that which is our core soul a growing awareness of a renaissance energy and has been said to be the divine of Eastern and Western spirituality in our energy; the nondual level, being awareness contemporary culture and knew that a new at the highest stage of contemplation and way of thinking was overdue (Culliford, immediacy of an experience, re-establishing 2011). Schermer highlights his change and unifying the self by pure comprehension of position about the simple explanations (Wilber, 2000). of cause and effect to a greater transper- There have been developments that sonal connectivity; this may also indicate have caused controversy and debate. Ken one of the values of transpersonal work Wilber’s spectrum model and integral as our spiritual experiences can affect our approach, although at the time deemed understanding of the self at particular points to be at the cutting edge of transpersonal in time (Schermer, 2003).

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This shift in has given rise to what travel across these borders as to the needs Schermer (2003) calls a psycho-spiritual para- of the coachee, but with an intention that digm, which conjuncts spiritual understanding the coachees move themselves forward to with science-based models regarding the reach their goals and aspirations. mind. This has still left the artistic realm There have been considerations to of engagement unexplored, which this paper the creation of newer or reconfgured aims to address. approaches to encapsulate transpersonal acceptance in older methodologies. For Potential issues example, there has been some sugges- and coaching application tion that more traditional behavioural Palmer and Whybrow (2007) reviewed the approaches could become more integral. model of coaching practice and found An example here is transpersonal cogni- that there were 28 different psycholog- tive (Seiden & Lam, ical models and approaches being used. 2010). Here there is emphasis on the Solution focused, cognitive behavioural, experiences people have rather than the goal focused, behavioural, cognitive and phenomena they are in (Seiden & Lam, person-centred coaching appeared to be 2010). We believe that this is about the rela- the most common. Transpersonal coaching tionship and distinction between internal featured in those approaches that were used and external landscapes. Despite the rein- by less than 10 per cent of practitioners vention or re-ordering of and in the results. This raises the question psychology, the importance here may be of whether the impact on the coachee indicated in what transpersonal coaches differed depending on the underpin- decide to use and what works. ning model of coaching practice. Further The search for a defnition for transper- research may be needed on the experiences sonal and its application in coaching is not of transpersonal approaches from both the just about a comparison between this and coaches and coachee’s perspectives. transpersonal therapy, it is also about looking The infuence of coaching psychology for a place against other existing coaching brings with it some considerations about methodologies, for example; Humanistic, how the coach can use psychological theory Solution focused, Cognitive Behavioural in their own practice. For instance, what coaching and even Existential Coaching. differences are there between therapeutic If we consider existential approaches and coaching approaches? Bachkirova to coaching, we can then further examine (2007) compared coaching and counsel- the need for the search for meaning for the ling and concluded that initial , coach and coachee. As Spinelli and Horner context and expectation for the outcomes (2007) point out, we can be disturbed by a are signifcantly different. lack or loss of meaning. They also explain We believe that Bachkirova missed that we tend to avoid or deny challenges an important distinction about coaching to our strong beliefs. When a coachee today. The defnition of transpersonal reveals that they may have lack of meaning coaching against the defnitions of or a sense of loss to their purpose in life, transpersonal counselling/therapy may the existential anxiety can be relieved need to make explicit that coaching is by transpersonal coaching methodology. generally deemed to be current and future This can be created from the opportunity orientated, as against counselling which for self-exploration to fnd meaning for the can include much greater orientation to coachee. Rowan suggests that even though the past. However, the boundaries are not some existential thinkers reject transper- clearly delineated, and according to the sonal levels he argues that by avoiding the coaches background and expertise can transpersonal can lead to further despair

Transpersonal Psychology Review, Volume 19, No. 1, Spring 2017 27 Nat Clegg & Ho Law and futility. This may raise an issue about evokes a strong positive reaction. He suggest classifcation and terminologies; about that the reaction creates the opening up to what we understand to be transpersonal heightened , which further adds approaches – there may be more but to an incremental positive change in our in different guises. lives (Wilber, 1997). The use of the term ‘transpersonal’ Coaching is often about the coachee and the idea of what is transpersonal has fnding meaning in their present environ- raised some concerns. Tart (2009) illustrates ment. Sometimes this is not enough. Whit- that transpersonal understanding has been more and Einzig (2006) posit that the gradually immersed in the plethora of the most important feature for transpersonal movement’s materials. This has led psychology is that there is no boundary to a vague careless use of the word ‘transper- between spiritual and personal develop- sonal’, which has caused some concern and ment. Instead, they believe that the devel- confusion in psychological felds, caused opment is on a continuum, indicating understanding of the term to be marred and within their writing a strong preference for distanced from the original intention, and as a coaching technique. damaged its credibility. They also promote the use of transpersonal Transpersonal methodology could approaches to expand the experiences for include a wide range of approaches according both the coach and coachee and to facilitate to the coachee’s own perspectives, appre- the access towards the experience for the ciation and understanding in different felds coachee. In conclusion, transpersonal For example, a person may be particularly approaches are also useful for those who drawn to art or poetry as a vehicle for need to explore existential or spiritual issues their exploration, whether it be their own (Sparrow, 2007). production or the valuing of others. If we Transpersonal coaching appears to be take poetry and art as examples, William an emergent practice; the literature is scarce Blake, nineteenth century poet and artist, and the practice is not always well docu- revealed strong connections to the disci- mented (with some exceptions) (see Law & pline of psychology, particularly with refer- Lancaster, 2011; Whitmore, 2004). The result ence to some humanistic, existential and of is creates a loosely defned and not clearly transpersonal insights throughout his understood methodology. Researching the work. Jung and Freud recognised allusions experiences of the coaches and coachees to Blake’s work, particularly around repres- may reveal a possible model for practice. sion and the repressed in Freud’s case, In addition, it is also important to ascertain and archetypal symbols in Jung’s. With this the possible benefts for the participants in mind, a transpersonal psychology prac- in terms of self-effcacy. titioner who has a background in art may Our research inquiry aims to reveal appreciate to a much more subtle degree whether using art in transpersonal activities the meaning for their clients/coachees contributes to coaching practice. who communicate by artistic means (e.g. drawing, painting, poem or music) (see Law Methodology & Orenbach, 2015). As a collaborative enquiry, each author The impact of the can create oppor- adopts an autoethnographic approach tunities to value and experience at a higher as a way of self-discovery (Chapman-Clark, level the sense of being present and 2016). However, instead of developing or connected to something greater than our a single autoethnography (monograph), common experience. Wilber explains this we produce dual autoethnographies – we frst by describing the physical sensations he has collect each author’s refective account when looking at a Van Gogh. This, for him, on their in relation

28 Transpersonal Psychology Review, Volume 19, No. 1, Spring 2017 The art of the transpersonal: Its psychology and coaching application

Figure 1: Butterfly. Oil on Canvas © Ho Law 1994

Figure 2: Self portraiture

Transpersonal Psychology Review, Volume 19, No. 1, Spring 2017 29 Nat Clegg & Ho Law

Figure 3: Conversation with Zophiel

Ho’s story I In the beginning… As far as I could remember, I always drew – since I was a child. I drew human fgures, birds, anything… I drew characters from cartoon books. I made my own picture books and created stories from the fight of imagination… I never felt lonely. Loneliness fell upon me during the early years when I came and lived in England (1977). I started to draw again. I drew about my inner suffering, my thinking process, my struggle against social alienation… (See Figure 1) Drawing is the beginning of my conscious life. It takes me on a journey. Later in my life, it helped me to make conscious decisions, to become an artist. But art was not valued as much as science in our society. Now, on refection, I understand how social and family values helped shape my decisions to study science subjects in school… (Law, 2003, p.i)

Nat’s story I I was fortunate to develop my emergent creative talents through the practice and study of fne art, from foundation school through to the completion of a bachelor’s degree in my early life within the disciplines and execution of painting, drawing, photography and sculpture. The development of these studies urged me to consider the formation and exploration of the self, and how impulses and drives informed my behaviour (fgures 2 and 3). The act of creating imagery, the use of symbols and structures to form meaning, and the regular conversation about what art means encouraged greater around the legacies of human behaviour, culture and the position of the self in the present condition. At this point in my development the thrust of life was mainly about discovery, experiential happiness and the satisfaction of basic needs. The creation and appreciation of this was my art; non-lingual statements of existence I offered to the world I knew at that time. The creation of art, whether it was two- or three-dimensional, included the natural and taught skilled methods to create metaphors and representation of symbolic meaning. Consideration of how to make marks with meaning, the application and execution of tools and materials to good effect, and the approach to the development and conclusion of each piece was a sustained piece of learning. Within these creative acts the learning of the self occurred as a range that fuctuated between pleasure and pain according to the point of existence through the realisation of each piece. The only common feature was that each piece augured self-discipline or release from social and personal conditioning.

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Nat’s story II This was largely derived through the application of ‘art deconstruction’ at art college. Where the art is, where it came from, and what it may be about is due to the relationship of that and where the viewer is located at that particular point in time.This was grounded in us regularly. This approach to appreciation and understanding was a method that comprised of a variety of considerations, each one aimed at revealing a broader and deeper appreciation of each piece of work observed, increasing the connection between creator and observer, crucial to my practice those days. The elements of deconstruction assist the observer in the search for meaning through the following elements: simulation and psychological, personal reaction and subjectivity, analytical, significance and contextual, then aesthetics, philosophical reactions, and . Some examples of this could be questions around initial reaction to a piece of art. Does it cause any intrigue? What is the attraction, and does it have any intensity? Is the artefact related to anything tangible, abstract or belong to fantasy? What does one perceive? Is this a new experience or do other things surface in the mind from the past? Other considerations would be about how the object was made, the rapidity of formation, construction and approach, often bringing forward thoughts about the emotional content or mood of the creator when parts or the whole of the piece were made. How does this manifest and what does this trigger for the viewer? Social commentary, religious/spiritual connection and conceptual referencing can also be important ways of considering what the piece of art pertains to validate. Another question may be: What in this context do we bring to the piece itself? The balance of the work would also be brought into consideration: Whether the order and composition was intentionally constructed, and why or if there was anything arbitrary forming other meanings, including how well the quality of line, surface, form and texture work in the piece in that moment. The beginnings of my adult life were furnished with these ruminations; life was rich and visually stimulating, providing a fertile ground to further develop. From this I began to be attracted to various forms of self-learning experiences. Positive, and at times somewhat less generous, influences provided different lenses to either accept or repel associations with others. The act of self- through my own behaviours and that of others became a running internal dialogue. My connection with coaching and coaching psychology began later in life as I moved from art teaching and towards facilitation, training and coaching others, this led to my interest in attaining a recognised coaching qualification. The University of East London provided that opportunity and acted as a springboard to a more clearly defined path studying towards an MSc in Coaching Psychology. At the same time I was still practising, making and exhibiting art. The two disciplines seemed to have some strong connections. Thetwo areas developed harmoniously; I started to bring the two components together using art within my coaching, incrementally developing my methodology for my clients. The crucial key to being effective in my work was the use of psychology that bridged art with coaching. Today, my approach with my clients or coachees uses art as a vital component to further questioning in an exploration towards meaning about where the person is and where they want to go in their life right now, in a shared purposeful if not therapeutic alliance.

Transpersonal Psychology Review, Volume 19, No. 1, Spring 2017 31 Nat Clegg & Ho Law

Ho’s story II The turning point, I think, was the moment in 1989, when I submitted a charcoal drawing titled ‘Bather’ (which I created in the ‘Evening Life’ drawing class which I attended at the Camden Institute) to the ‘Drawing For All’ touring exhibition. It got accepted… I realised then, that my was art. Yes, it was, has been, and is with me all the time! I was born to be an artist! The awakening was like a rediscovery of my lost self, my lost soul, my lost destiny… Once, I was told by an artist, ‘In art, you are not a foreigner…’. I like that, and I value it very much… At last, art provides me a social space within which I feel I belong… Having decided seriously to be an artist, trying to understand modern art a little better and thinking about what to paint become my pre-occupations. The frst thing to do was a literature review of what had been done before, as an academic researcher would do. I was rather annoyed to read a piece of literature saying that modern art was only understood by European literature classes. I was determine not to be excluded, so for my fnal course with the Open University, I selected to read the ‘Modern Art and Modernism’ course, which effectively provided me a review of the (European) modern art for the last 150 years. Following Baudelaire’s (1863) ‘Le Peintre de la vie moderne ‘or ‘painter of modern life’, which located my art within the modern tradition, I began to paint seriously… (Law, 2007, p 48–49). Looking back, most of the time I kept my artistic and scientifc practice quite separate. It is only in recent years that art has been brought into my practice, either by some of my clients/coachees who used art, or by students who I supervised who happened to be very accomplished artists (musicians or painters, as exemplifed by the frst author). Being an artist myself, I intrinsically identifed their inner callings and brought them to the fore, and integrated their hidden strengths into their studies. This very often produced a great effect (achieving merits or distinctions in their academic results). For that I am always very grateful to all my clients/coaches and students, for not only reminding me of the power of art, but also of who I am. to art making, and then merge them into As Jung suggests, symbols are the a single coherent account by comparing language of the soul (Jung, 1964). Refecting and contrasting the similarities and differ- on the artist’s personal journey shows how ences of the two stories. This enables us to art brings the artists closer to what and how achieve a sense of intersubjectivity. In this their inner (and transpersonal selves) way, we regard our research as a process can be understood through the artistic prac- of co-production of knowledge amongst the tice. The starting point seems to be solidly researchers (Willig, 2008). In this paper, grounded within the human condition – the we develop a synthesis from our refective realm of existentialism. account rather than using it as a data point Spinelli (1994) commented on possible to perform further analysis; for example, differences between when something is art using narrative orientated enquiry (see Law and when it is not art, concluding that the & Basil, 2016). Our approach is synthetic placement of something may affect whether rather than analytical. As artists, we are it is considered by others to be of value mindful to refrain from falling into the or meaning. For example, if a common stone post modern trap of discourse analysis – is found on the ground it will be received to explain the complexity away. Where differently than if viewed in a gallery possible, we try to let our art work speak or by a geologist. This ‘when is and where for itself. is’ art led to an approach we discovered

32 Transpersonal Psychology Review, Volume 19, No. 1, Spring 2017 The art of the transpersonal: Its psychology and coaching application to understanding the art of others’ (see as exemplifed by our personal stories. Nat’s story II). Careful use of training and development Two different stories, yet each implic- models can employ art, whether that being itly locates the self within the transpersonal personal or chosen imagery, to help the realm via art. According to the British Asso- client/coachee fnd signifcance to their ciation of Art Therapists (2017), present situation. In turn, this may lead tends to work with the client using art to surfacing meaning or the birth of new media as a principal approach for commu- ideas. The semiotic study can help the coach nication, to support a client to infuence and coachee fnd structure and meaning, personal change and growth through the and a language to their work together. As an use of art materials. By the same token, example of how this works: Use images from transpersonal coaching intends to work with contemporary and historical pieces selected the client or coachee, referring to or using by the coach or coachee, explore each piece art to reveal their and inten- using several themes. Example questions tions, but with a specifc focus on themselves about each piece could be: in their present environment from doing 1. Elements – Why are they there? What are or creating to understanding being and they doing? Where are they from? What beyond. do they remind you of? What’s missing? 2. Colour – How does this emotionally feel? Application (coaching and art making) Where have you seen this colour before? Coaching Which colour stands out to you? What Knowing how to ‘read’ art, and how does this or that colour remind you of? to deconstruct imagery and artistic inten- 3. Sizes and shapes – What does one shape do tion, we believe, can help the coach and to the next? If abstract, what is this piece coachee search for meaning with the self saying to you? Would you add anything and knowing the self through others’ art, to this piece?

Figure 4: The Metaphor Box

Transpersonal Psychology Review, Volume 19, No. 1, Spring 2017 33 Nat Clegg & Ho Law

Figure 5: To make art like Tony Orrico

4. Position and location – If you are in this of the surfacing of our hidden conversa- piece, which part is you? If you were in tions with ourselves. The coach should this piece what would you be doing? be mindful to follow the coachee’s journey of exploration, with the intention of bringing The coachee’s opinion of each piece of art the focus towards the coachee’s position is not to be challenged or questioned about and current circumstance, respectfully whether the art is good or bad it is about helping the coachee towards further under- what is the art doing for them. The axiology standing their current climate and percep- of the piece is still important, but the signif- tion about where they are. Through this cance for the coachee is more so; this is part exploration it is important that the coach

34 Transpersonal Psychology Review, Volume 19, No. 1, Spring 2017 The art of the transpersonal: Its psychology and coaching application

Figure 6: The Lion Eating the Sun does not leap to any conclusions to what of their art, which leads to them be more a coachee’s means; no diagnosis, aware of their present condition, moving as this can lead to assumed self-fulflling from a position of ‘must be’ to ‘can’ or prophecies, and more subtle revelations ‘could be’. can be easily cast aside. Meaning will gradu- Art can make deeper connections for ally transpire from the coachee; time is the the coachee, helping them articulate about natural enricher here. Further to this would themselves. By reviewing art in a variety be questions about future orientation and of forms the coach with the coachee can next steps. For example, three important locate metaphors for new directions, touch elements that can further our understand- stones, and confrmations of what supports ings of our current position in life are: them now and can signify deeper meaning What is there, what is not there, and how for the next stage in their lives. Jung (1964, do you know? On many occasions we have 2009) believed that that started witnessed the coachee who has more choice at the second half of life, and in turn evokes in their lives after being able to deconstruct a greater need for purpose and meaning

Transpersonal Psychology Review, Volume 19, No. 1, Spring 2017 35 Nat Clegg & Ho Law to life in general. This can often manifest porary performance artist like Tony Orrico in and fantasies. (Figure 5) has provided some amazing exam- Another approach may be to explore how ples of how we can use our body to release others perceive us. We could explore this and realise inner understanding externally. using imagery. On many occasion we have By using the idea of inner release we have used with, for example, senior managers the had coachees producing images that have idea of the Metaphor Box. This technique formed part of their self-realisation, which is used so that the coachee can understand has contributed to them being able to move how others perceive them. A select body forward with intention and direction. Some of people known to the coachee is invited have produced their own , which to post, through a slit in a box, imagery about when completed have formed a touchstone the person in question. This happens for for their focus on life. over a week. After, the coachee reveals the As another example, one coachee was contents of the box and coach and coachee struck by a recurring image that was causing review the elements within. The coachee talks him signifcant unease and emotional about their perception of the images and distress: that of ‘The Lion Eating the Sun’ draws conclusions about how they think they (see Figure 6). This image seemed to be are perceived. After the coaching session the ever present in his life, from musical album group is brought together to share openly artwork to advertisements. Our coaching why they chose their images with the coachee. journey together explored the image, and Each time we have used this method, the eventually through symbolic alchemical coachee has felt much better understood, understanding, we both recognised that and there is a greater level of appreciation he was going through transformation. This for them and the people involved in the exer- transformation was part of a life stage transi- cise (see Figure 4). tion from one realm of manhood to another, On different occasions we have used and an adjustment in romantic expectation different methods for coachees to explore that was a constant painful series of rejections their domains. To make art with coachees can from another he desired, to eventual ill effect help the coachee unlock without in his work place. The symbol was indeed words, which we have found, with some, refecting these things as a transition through it is less diffcult for them at frst than verbal this lesson of the self and heart. This was discussion. Art can be a release for emotional, an uncomfortable period in his life, albeit expressive qualities and in some experi- rich and important for his sense of self. ences as a wholeness, oneness, freedom and For some coachees the act of making connection to something greater than the art encourages other conversations, as the self; an activity in an optimum state of being. drawings or paintings they produce urge Csikzentmihalyi (1996) in his research that comments and conversations about what the there could be a ‘fow’ state during drawing reveals about their position and as an almost automatic, effortless, yet highly placement in life and how does this impact focused state of consciousness. (Kaufman, & on where they want to be. One coachee Baer, p.90). What gestures, movement and realised what was missing from her life when body actions used to bring forth imagery may she drew two vases of fowers. Each vase had have some emergent messages for us about a large hole in the design. After refecting how we are going about our lives in general some while she said this image brought or more specifc conditions. The use of the about feelings of what was missing at that body is important to the overall effect of those time: she missed love from others, she was things that we make, for example, Japanese lonely, she needed to close the gap to feel brush and ink drawing with Iaido (sword complete in order to cultivate the good drawing), and more contem- things in her life; the missing middle, one

36 Transpersonal Psychology Review, Volume 19, No. 1, Spring 2017 The art of the transpersonal: Its psychology and coaching application

Figure 7: Two Vases of Flowers

Transpersonal Psychology Review, Volume 19, No. 1, Spring 2017 37 Nat Clegg & Ho Law

Figure 8: Title and Meaning Emergent © Nat Clegg (2006)

In all my work, I am not acutely aware of what I am intending to paint. The painting develops over a period of time and when I feel that there is nothing I can add, remove or alter the active painting process ends. After this, the process of understanding carries on and in time I become aware of what the piece is saying to me. I have come to recognise that this piece represents my transpersonal self asleep, connected to the ‘I’ which is the island (Jung), surrounded by the unconscious self; in this case being the . I am also aware of the stars in the water refecting the higher realm, perhaps being the sub-personalities of the middle unconscious realm. Once awakened we can experience a new reality and meaning to life. (NC)

38 Transpersonal Psychology Review, Volume 19, No. 1, Spring 2017 The art of the transpersonal: Its psychology and coaching application

Figure 9: Kapala Kapala © Nat Clegg (2010)

Originally the painting began to speak about the conscious and unconscious self. Here the circle is the Sanskrit cranial vessel that contained the elixir of immortality. Like most sacred containers it is the bowl, the vessel, the chalice of life; ornate or simple. The luminance is in the taking and translation. It is the culmination of becoming at the end point of the another connection to the hierarchical transi- tion from the base realm to the transpersonal self. (NC)

Transpersonal Psychology Review, Volume 19, No. 1, Spring 2017 39 Nat Clegg & Ho Law

Figure 10: Red Lands © Nat Clegg (2010)

This piece has been somewhat diffcult. The colour is sedate and yet the image resonates. Metals - meaning – reaction again. I think that the picture surface is important. The connectivity happens here, as well as the colour references – red being ritualistic. Squares and triangles make connections and communicate here. The composition intends to create or suggest some balance. As for theme, the meaning. I suppose… well, the intention was to explore how the mundane, the tangible, connects with the greater spirit… The Red Lands – The Egyptian understanding of the external world, external to the self. On a mundane level, the area away from the Nile and its fertile black ground. (NC)

40 Transpersonal Psychology Review, Volume 19, No. 1, Spring 2017 The art of the transpersonal: Its psychology and coaching application

Figure 11: Wake UP © Nat Clegg (2008)

This piece was painted at a time when I was interested in parallel time, and quantum entan- glement. In terms of psychological approaches this reads as meeting a sub-. An emergent form of the self; a facet to become familiar with. (NC)

Transpersonal Psychology Review, Volume 19, No. 1, Spring 2017 41 Nat Clegg & Ho Law may say, needed some care (see Figure 7). process through the emotions and when The preceding months had been about the sensation declines, the piece of work her gradual deliberating and considering is fnished. Often, we realise, this is how improvements around the importance of, many of us go through life, moving from and her activities around feeling loved – one surfacing experience, through a series What did this actually mean for her and of happenings and then moving on; never what she wanted to do? the same experience, sometimes similar or new; all these sensations overlapping Integration of transpersonal psychology in a sensory cocktail of colour, form to art making and , like a butterfy, and many Assagioli’s model indicates that when we of Nabokov’s characters, let us enjoy the become aware of and connect to the higher metaphors of the senses (O’Malley, 1957). or transpersonal self then, making art can With great respect to all present and past demonstrate understandings of synthesis in coachees’, we have learned so much and process. Here we present a few examples to we are still learning, not only about how our demonstrate this (see fgures 8–11). coaching practice has evolved, but also how we are evolving as people on many planes. Concluding remark We are both humbled by the coachees’ What does this all mean for us? Well, there experiences and bravery to confront their has been and still will be a lot of self-refection symbolic worlds, giving us the strength and learning. Being able to use and revisit confronting our own. Using art in our prac- some of the skills we have learned and tice – making art for art’s sake or coaching to use them again is engaging, enriching, for coachees’ sake – has certainly brought and more about learning through practice us together, with an array of creative inci- such as coaching than about who we are. Art dents for each and both of us. From each and art forms have always had an infuence of our experiences and understandings (the on who we may be. What we are, we believe, coach and coachee), when we are on a crea- is not fully known; it is an ongoing explora- tive journey, there is an illuminating resto- tion (work in progress) along the way and ration of truth for ourselves and between sensing, through doing art, we evolve… each other, like a (Yalom, As practising artists we regularly venture 2009). into the plastic creation of our thoughts, visions and feelings. Making art is as much Nat Clegg & Ho Law about feeling and bringing forth healing [email protected] and [email protected] to the self as it is about concluding an artistic act. Many of our paintings are Acknowledgements usually about realisations. For example, This paper was developed from a workshop the Butterfy in Figure 1 (by Ho) and which was frst presented in The Transper- Figure 4 (by Nat). They emerge, often sonal Psychology Section’s Annual Confer- fguratively, and do not necessarily start ence at Scarborough in 2013. The authors from having one idea in mind. They also are grateful for the input and feedback from conclude through a nascent thought all the participants.

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Baudelaire, C. (1863). The painter of modern life in Law, H. (2007). The journey of a stranger. In H. Law J. Mayne. (1964, Translated & Ed.). The painter (Ed.) The arts of stranger. The Cutting Edge: Peter- of modern life and other essays. London: Phaidon borough School of Art(s), 1(2) 43–54. Press. Law, H. & Basil, N. (2016). Refections on Vera British of Art Therapists (2017). What and tree of life: Multi-refexivity, meta-narrative is art therapy? Retrieved 14 March 2017 from dialogue for transpersonal research. Transper- www.baat.org/About-Art-Therapy sonal Psychology Review, 18(2), 32–57. Cortright, B. (1997). and spirit: Theory Law, H & Lancaster, L. (2011). What are the striking and practice in transpersonal psychotherapy. Suny parallels between and Series. New York: State University of New York spiritual traditions? Or why counselling psycholo- Press. gists should embrace transpersonal psychology. Culliford, L. (2011). The psychology of spirituality – An Counselling Psychology Quarterly, 24(4), pp.331– introduction. London: Jessica Kingsley. 339. Chapman-Clark, M. (2016). ‘Discovering’ autoeth- Law, H.C. & Orenbach, S. (2015). Psychology of music nography as a research genre, methodology and and narrative coaching – Their effectiveness and prac- method: ‘the of life’. Transpersonal tices. Paper presented at 5th European Coaching Psychology Review, Autumn 18(2), 10–18. Psychology Conference, 10–11 December, Daniels, M. (2001). On transcendence in transper- London. sonal psychology. Transpersonal Psychology Review, May, R. (1986). The discovery of being: Writings in exis- 5(2), 3–11. tential psychology. London: Norton. Davis, J. (2003). An overview of transpersonal Palmer, S. & Whybrow, A. (2007). Handbook of coaching psychology. The Humanistic Psychologist, 31(2–3), psychology: A guide for practitioners. London: Rout- 6–21. ledge. Davis, J. (2009). Complimentary research methods Rowan, J. (2005). The transpersonal, spirituality in in humanistic and transpersonal psychology: A psychotherapy and counselling (2nd edn). New York: case for methodological pluralism. The Human- . istic Psychologist, 37, pp.4–23 Rowan, J. (2006). Transpersonal supervision. The Gombrich E.H. (2007). The story of art (16th edn). Journal of Transpersonal Psychology, 38(2), London: Phaidon Press. pp.225–238. Grof, S. et al. (2008) Birthing the transpersonal. Rowan, J. (2012). Existentialism and the transper- Journal of Transpersonal Psychology, 40(2), pp.155– sonal, existential analysis. Journal of the Society for 177. Existential Analysis, 1, 113–117. Grof, S. & Grof, C. (2010). Holotropic breathwork: A new Ryan, M. (2008). The transpersonal William James. approach to self-exploration and therapy. New York: Journal of Transpersonal Psychology, 40(1), 20–40. University of New York Press. Schermer, V. (2003). Spirit and psyche: A new para- Guest, H. (1989). The origins of transpersonal digm for psychology, and psycho- psychology. British Journal of Psychotherapy, 6, therapy. New York & London: Jessica Kingsley. 62–69. Schroll, A. Rowan, J. & Robinson, O. (2011). Clearing James, W. (1987). Writings 1902–1910. New York: up Rollo May’s views of transpersonal psychology Library of America. and acknowledging May as an early supporter of Jung, C.G. (1959). The archetypes and the collective . International Journal of Transper- unconscious. Abingdon-on-Thames: Routledge & sonal Studies, 30(1), 120–136. Kegan Paul. Seiden, D. & Lam, K. (2010). From Moses and mono- Jung, C.G. (1972). Four archetypes. Abingdon-on- theism to Buddha and behaviourism: Cogni- Thames: Routledge & Kegan Paul. tive Behaviour Therapy’s Transpersonal Crisis. Jung, C.G. (1978). Man and his symbols. Surrey: Journal of Transpersonal Psychology, 42(1), 89–113. Picador. Sparrow, S. (2007). Transpersonally speaking. Jung, C.G. (2001). The spirit in man, art and literature. Coaching at Work, September, pp.22–23. Abingdon-on-Thames: Routledge & Kegan Paul. Spinelli, E. & Horner, C. (2007). An Existential Jung, C.G. (1964). Man and his symbols. London: Approach to Coaching Psychology in Excellence in Aldus Books. Coaching: The industry guide (2nd edn). London: Jung, C.G. (1965). The psychology of type. London: Kogan Page. Routledge. Sutich, A.J. (1968). Transpersonal psychology: An Jung, C.G. (2009) . New York & London: emerging force. Journal of . Norton. 8(1), 77–78. Kaufman, J.C. & Baer, J. (2005). Creativity across Spinelli, E. (1994). Demystifying therapy. London: domains: Faces of the muse. London: Routledge. Constable & Company Ltd. Law, H. (Ed.) (2003). Return to drawing. The Cutting Somers, B. (2004). The fres of alchemy. Morton: Edge: Peterborough School of Art(s), 5. Archive Publishing.

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