Andplay: Symbol

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S ANDPLAY
&
SYMBOL w o r k
SANDPLAY & SYMBOL WORK

S andplay and symbol work are therapeutic tools for self-discovery and
emotional healing. By arranging small objects in a sandtray, children,
adolescents and adults can unlock the subconscious and reveal unspoken
dilemmas. For many people, it is a powerful form of self-expression and an important
step towards personal healing.
Emotional Healing& Personal Development
with Children, Adolescents and Adults
Sandplay & Symbol Work guides therapists, counsellors and psychologists in this
breakthrough technique. Therapists Mark Pearson and Helen Wilson present step-by-
step exercises for practitioners to assist clients’ symbol work.
Also presented are:
• the history of sandplay and symbol work techniques, and their links to Jungian
psychology;
• methods to adapt the techniques to clients of all age groups and different settings;
• case histories from the authors’ own field work, including full-colour photos of
sandplay sessions; and
• research literature on a variety of sandplay applications.
Sandplay & Symbol Work is an invaluable guide for counsellors wishing to explore this
innovative technique and support others effectively in exploring their inner world.
Mark Pearson • Helen Wilson

About the Authors:
Mark Pearson and Helen Wilson have a combined experience of training counsellors,
psychologists and psychotherapists in the use of sandplay therapy and symbol work
of over 25 years. Mark is the author of Emotional Release for Children (ACER Press,
1995), Emotional Healing & Self-esteem (ACER Press, 1998) and several books outlining
emotional release counselling with adults.

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S &
SYMBOL w o r k
ANDPLAY
Emotional Healing &
Personal Development

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S &
SYMBOL w o r k
ANDPLAY
Emotional Healing
&
Personal Development

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First published 2001

by Australian Council for Educational Research Ltd
19 Prospect Hill Road, Camberwell, Melbourne, Victoria, 3124
10 9 8 7 6 5 4 3 2 1
Copyright © 2001 Mark Pearson and Helen Wilson

All rights reserved. Except under the conditions described in the Copyright Act 1968 of
Australia and subsequent amendments, no part of this publication may be reproduced,
stored in a retrieval system or transmitted in any form or otherwise, without the written
permission of the publishers. The material in the photocopy masters may be reproduced
by individuals in quantities sufficient for non-commercial application.
Edited by Jane Angus, Writers Reign

Cover and text design by Polar Design
Cover photography by Lindsay Edwards
Sandplay photographs by Helen Wilson and Tess Pearson
Printed in Australia by Shannon Books
National Library of Australia Cataloguing-in-Publication data:
Pearson, Mark.
Sandplay & symbol work: emotional healing & personal development with children,
adolescents and adults.
Bibliography.
Includes index.
ISBN 0 86431 340 3.
1. Sandplay – Therapeutic use. 2. Play therapy. 3. Psychotherapy.

I. Wilson, Helen. II. Title.
616.89165
Visit our website: www.acerpress.com.au
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Contents
Introduction The language of symbols 1
Chapter 1 The development of sandplay 4

How does sandplay work? 4
Differences between sandplay and symbol work 6
The evolution of sandplay as used in ERC 8
Sandplay and symbol work in ERC 10
Basic principles underlying ERC and sandplay practice 11
What supports emotional healing? 12
Sandplay literature and research 15
Sandplay as an aid to counselling in schools 15
Sandplay and multiple intelligences 18
Sandplay and academic improvement 20
Sandplay with abused children 21
Sandplay and grieving 23
Sandplay, symbol work and ERC in Australian group programs 23
Chapter 2 A gathering of wisdom – the Jungian heritage

and contemporary sandplay 24
Some aims of sandplay 24
Emotional and psychological safety 26
How can sandplay help clients? 29
The value of play 31
Dealing with aggression 32
The role of the therapist 33
Stages in the sandplay process 34
After the sandplay 36
The contribution of play therapy 37
Sandplay and transpersonal psychology 38
Chapter 3 Sandplay and symbol work methods 41

Elements of the process 41
Some uses of sandplay 44
Trusting the inner healer 45
The free sandplay method 46
Overview of the process 46
Some ways of beginning 48
Gestalt role-play with sandplay figures 50
The focused method 50
Directed methods 50
Stages in sandplay sessions 51
Sandplay for families and groups 51
Sandplay with couples 53
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Chapter 4 Symbol work exercises 54

The basic steps of a counselling session 55
Relationships 60
Families and school 61
Emotional and physical release 63
Self-esteem 67
Spiritual direction and personal review 69
Chapter 5 Expressive support processes 72

Bioenergetics 72
Music to support bioenergetic exercises and movement work 74
Energy release games 75
Drawing after sandplay and symbol work 77
Other media 78
Chapter 6 Professional orientation 80

Basic rules and advice for facilitators 82
Guidelines for facilitators 83
Learning to observe 84
Preparing the counselling room 85
Integration 86
Evaluation, review and recording 88
Equipment 88
Sandplay with different age groups 91
Contraindications 92
Sandplay and nature 93
Using symbols in professional supervision 94
Getting started with sandplay – a six-point plan 95
Advice for parents of child clients 96
Training 99
Conclusion 101
Sandplay stories 103
Appendix I: Self-discovery worksheet: The different parts of me 115
Appendix II: Gestalt role-play exercise 116
Appendix III: Record form for sandplay sessions 117
References 119
Glossary 125
Index of exercises 129
General index 130
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The authors
Mark Pearson
Mark has been conducting Certificate Courses in Emotional Release Counselling
(ERC) and sandplay around Australia since 1989. He was a primary school teacher,
then founded a remedial reading clinic. He has worked briefly with handicapped
children and conducted individual and group programs for emotionally disturbed
children and adolescents. For five years Mark held a senior staff position at the
Living Water Centre, Blue Mountains, NSW, as lecturer in Emotional Release
Counselling for Children, Breathwork Therapy, Dreamwork and Sandplay, then
directed courses at The Portiuncula Centre in Toowoomba for eight years. He has
completed further studies in Transpersonal Psychology with Dr Stanislav Grof, and
is completing M.Ed. studies, majoring in Behaviour Management.
He now works as a psychotherapy and counselling trainer in Brisbane,
Melbourne and Sydney through Turnaround, and for the Australian Council for
Educational Research in Melbourne. He regularly runs programs for various welfare
agencies and education departments around Australia. He is the co-author (with
Patricia Nolan) of Emotional First-aid for Children (1991) and Emotional Release for
Children (1995). He is also the author of Emotional Healing and Self-esteem – Inner-life
Skills of Relaxation, Visualisation and Meditation for Children and Adolescents (1998) and
for adults: From Healing to Awakening (1991) and The Healing Journey (1997).
Helen Wilson
Helen is an emotional release counsellor in private practice in Brisbane. Together
with Mark, she also conducts training in ERC, sandplay and transpersonal therapies
in Brisbane, Sydney and Melbourne. Helen has completed all three levels of train-
ing in Emotional Release Counselling and Transpersonal Studies and holds the Post-
Graduate Diploma. She has a Certificate in ERC with Children, a Certificate
in Sandplay Therapy, and a degree in Human Resource Management. She was,
for several years, on the staff at The Portiuncula Centre, Toowoomba. She is
the founder of Turnaround through which she and Mark offer personal and pro-
fessional development programs.
Helen completed training in transpersonal psychology and holotropic breath-
work with Dr Stanislav Grof in 1998. She has used sandplay and symbol work in a
wide range of applications with individuals, couples, families and groups.
Helen and Mark are both recognised as Senior Trainers by their professional
body and are foundation members of the Queensland Transpersonal and Emotional
Release Counsellors Association Inc. and members of the Queensland Association
for Family Therapy.
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Acknowledgements
We are grateful to the many clients over the years who have entered will-
ingly – in great trust and faith – into the realm of the symbolic and given us
the privilege of witnessing their journey of transformation as well as giving
us valuable learning experiences about sand and symbols. We would like to
thank our clients who have kindly given permission for photographs and
stories of their exploration to be used.
Many thanks are also due to our trainees, whose inner journeys, probing
questions and generous sharings have enriched our experience of sandplay.
Special thanks go to Pru Beatty and Alana Vaney for contributing stories
of their use of symbols, and to Kathy Halvorson for the exercise on page 62.
We would like to acknowledge the initial training from Patrick Jansen, a
student of Dora Kalff, and all the writers on sandplay who have supported
and enlarged our understanding.
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Introduction
The language of symbols
round the walls of the sandplay room are shelves filled with small
A figurines: little people, animals, fish, birds, trees, buildings, military equip-
ment, miniature household items, model cars, trucks, buses, flowers,
jewels, skeletons, funny things, frightening things, endearing things, reli-
gious things, primitive dolls and much, much more. In the middle of this
treasure trove of figurines – silently waiting to become symbols for our inner
world – is a sandtray, similar to the ones we may have used in kindergarten.
The sand calls out to be touched, moved, shaped. We may begin our session
by arranging the sand – heaping it into hills and valleys, rivers or coastlines. We
play and add figurines, gradually seeing them as representing our feelings,
thoughts, attitudes, longings and unconscious drives. We may begin to under-
stand ourselves more clearly, or we may simply begin to feel better. We share
what we wish with the sandplay facilitator, and grow within the warmth of
their acceptance.
The figurines on the shelves can represent parts of ourselves; they become
significant symbols for us as our inner meanings are projected onto them. As
we look at the shelves we may feel that some of the symbols reach out. We
might feel greatly repulsed or attracted – that’s usually a clue that a symbol
is important. The repulsion or attraction can be an expression of the uncon-
scious. Sometimes we will choose symbols to represent themes about which
we are already conscious. At other times we simply allow the symbol to call
us. We take the figurines that we like, and start to arrange them in the sand.
We probably do not realise it at first, but the symbols stand out for us
because something inside us resonates, recognises itself in them.
When the sandplay figurines become symbols they begin to express the
language of our unconscious. Connection to what is unconscious in us sup-
ports emotional healing and personal development.
Sandplay is a hands-on, expressive counselling and psychotherapy
modality that has been in use for well over fifty years. It has been used with
children, adolescents and adults in schools, hospitals, welfare agencies and
private counselling practices. It forms a bridge between verbal therapy and
1
the expressive therapies, combining elements of both. Sandplay allows the

deeper aspects of the psyche to be worked with naturally and in safety, and
is highly effective in reducing the emotional causes of difficult behaviours. It
can be used both for diagnosis and as a treatment, and to support the use of
a variety of Emotional Release Counselling (ERC) modalities.
In dreaming, our unconscious invents its own symbols, sometimes choos-
ing from our memories, sometimes apparently following its own intricate
fantasy codes. Dream imagery has been used since the development of psy-
choanalysis as one of the main ways of exploring and healing the psyche. In
almost every culture throughout time people have sought understanding of
dreams and the symbolic language of the personal unconscious, as well as the
collective unconscious.
Symbols are regularly used in popular culture – in films, video clips, com-
puter games. When we see dark clouds in the sky in a movie we know that
something gloomy or difficult is about to happen. Another scene with a
bright, sunny day usually conveys to us a sense of hope, even though we are
not aware of thinking about it. We even hear clients use imagery for describ-
ing their inner processes: ‘I feel as if the sun has just come out from behind
a cloud!’ The language of symbols has been used by poets and writers, who
employ images in an effort to convey exact nuances of feelings, moods and
energy states.
Like the ocean, our unconscious is continually washing up both treasures
and less appealing items. This is an in-built mechanism in the psyche that, if
acknowledged, listened to and attended to, can support personal healing and
beyond, to individuation. Working with sandplay symbols helps us develop
language for this inner process and we become more articulate, using meta-
phors from our newly forming personal mythology. Sandplay is a unique
way to allow form to be constructed around unconscious material.
Sandplay and symbol work processes are a little like working with
dreams, but the symbols are not stored away in our unconscious. They are
outside us, ready to be selected. However, our unconscious emotional state
– if we allow it – selects the symbol figures, arranges them and begins to
make itself known. We can be surprised by what has been created in the
sand and the way in which our unconscious, given the opportunity, auton-
omously expresses itself with freedom.
Each of us has a constant drive in the psyche that wants to make sense of
our inner and outer worlds, wants to bring harmony with all parts of our-
selves. Working at the sandtray facilitates this sifting and integrating process
and exposes much that may previously have been hidden or buried to us.
Sandplay and symbol work make time and space for our deeper selves to
emerge. Kalff (1980) writes about the need to allow images of the Self to
emerge as part of the healing journey for clients. Sandplay and symbol
work help create congruence between our inner world and outer worlds.
Strengthening this connection is therapeutic.
2 Sandplay and Symbol Work

Transformation can happen at the level of metaphor, as the figures are

related to and arranged in relation to each other. Intrapsychic changes are
facilitated which might remain unexplored in a more cognitively focused
session.
Many clients initially regard sandplay as a bit of a lark and so commence
work in the sand with ease and a feeling of safety. They soon begin to con-
tact deeper parts of themselves or gain significant insights. The client and
facilitator soon leave behind the world of intellect-based labels and descrip-
tions and enter a realm where the self-development process unfolds. Because
the sand picture can be created without words it is a very supportive medium
for clients who may find verbal exchanges difficult or who work best in a
visual, non-verbal mode.
The ERC method of using sandplay described in this book has evolved
from the original Jungian approach and mirrors Jung’s theories. Incorporation
of some Gestalt techniques has expanded its efficiency. Greater freedom and
healing potential have been gained through use of other expressive ERC
modalities such as bioenergetics, art work, energy release games, body focus
and emotional release process work.
Our particular approach to using and teaching sandplay within a wider
context is to prepare facilitators to deal with the range of emerging feelings
and outcomes. The multi-modal approach of ERC is ideal for safely allowing
the psyche to open through work with symbols. The experiential nature
of ERC training creates understanding of the different levels of the psyche,
as well as providing comfort and competence in supporting any possible
dramatic emergence of emotions. Essential skills to support client integration
are also gained through experiential training.
Around the world different approaches to sandplay have emerged. The
ERC method is client-centred. It does not impose a framework or ideology.
At its core are the skills of suspending judgement and interpretation, refrain-
ing from imposing these onto the client, coupled with the use of our own
inner analysis as a basis for offering the client open-ended self-discovery
questions.
One aim of this book is to excite the reader’s interest in using the sand-
play and symbol work process for personal development: for self-discovery,
for emotional healing and for the spiritual quest. From these experiences
may emerge a professional interest in training to support others using these
methods.
This book is designed to help the reader use the language of the uncon-
scious. It can help us explore the treasures of the inner world, let go of what
is no longer needed and begin to be able to support others more effectively,
while constantly expanding our understanding of the psyche.
Introduction The language of symbols 3

Chapter 1
The development of
sandplay
A basic postulate of Sandplay Therapy is that deep in the unconscious there is an autonomous ten-
dency, given the proper conditions, for the psyche to heal itself. This work heals wounds that have
blocked normal development. It is a prime facilitator of the individuation process.
Estelle Weinrib, Images of the Self, Sigo, 1983
andplay can contribute to satisfying the soul’s longing to know and
S reveal itself. This process of revelation cuts through our sense of being
trapped in a superficial world. This linking between inner and outer can
bring meaning into the way we live our daily lives as well as supporting us
in shedding the inherited emotional loading.
Sandplay allows us to drop into a mythic realm of our psyche. Most clients
find the process deeply satisfying as it creates clear links between their per-
sonal life, the mythic or symbolic realm of the unconscious and an intrinsic
spirituality. Creating the symbolic structures in the sand adds the dimension
of depth to the process of self-discovery and healing. Problems can be seen in
a larger context.
The use of symbols allows the unconscious and conscious mind to project
multiple meanings. As we work with the symbols our issues, feelings, long-
ings, fears and hopes can emerge, take tangible form and become clear to us.
The symbols, laden with our meanings, can then be moved about, forming
new relationships, new connections. While allowing issues to emerge for
clarity and release, the connection between our inner and outer worlds helps
us recognise direction in our lives and become more complete.
This bond between inner and outer, and between client and facilitator, is
often felt as a sacred space; the usual ego certainty and control is gradually
suspended. The symbol work acts as an intermediary, opening the way for a
sharing of complex ideas and personal issues between client and counsellor.
How does sandplay work?

Acceptance of the concept that the psyche has a self-activated in-built,
corrective, healing drive and organising principle (inner healer) means that we
are able to regard the contents of the psyche as needing to be released or con-
taining dynamic tensions that are seeking expression. With children, this need
is manifested in acting-out behaviour. Unpleasant or negative experiences in
the psyche that need to be released or healed might include blocked feelings,
4
unresolved conflicts, specific and non-specific dissatisfactions, negative beliefs,

attitudes and scripts about self, defensive attitudes towards the world, agita-
tion, frustration, disappointment, anger, sadness, hurt, disconnection, armour-
ing, unfulfilled needs. Much of this unresolved material is contained in the
‘shadow’, Jung’s word for the part of the unconscious to which material that
cannot be accommodated or integrated by the ego is relegated.
Along with these so-called negative aspects, there are positive qualities,
skills and talents that have similarly not been developed or expressed. For
our progression to psychological health, it is essential that these positive
energies find expression.
It is clear then that clients come to the sandtray or the symbol shelves
with their own unique blend of therapeutic needs. When they begin to touch
the sand or inspect the figurines a recognition and resonance begins, uncon-
scious at first, and is felt as either a positive or negative attraction to a sym-
bol or sand formation. Next comes some satisfaction with either the sand
shaping or the gathering of a collection of figurines – which may at this stage
seem to have no connection or relevance to each other. In the free sandplay
process clients are encouraged to avoid planning their symbol selections or
sand formations.
The play element of sandplay is important. The freedom to create any-
thing they wish enables clients to drop any defences. For the facilitator this
means not having to work or plan a strategy to overcome defences. Sandplay
provides visible form for what is already inside the client. This enables the
client, with support from the facilitator, to observe, explore, comment, re-
constitute and heal destructive and sabotaging tendencies.
In the quiet concentration that follows the first steps of shaping the sand,
a story or picture emerges as the figurines are arranged. As the client surveys
the scene, associations between the symbols begin to appear. Meanings
may become clearer at this stage, or the story may seem to the client to be
entirely imaginary. Children usually create a story or movie-script type play,
whereas adults normally create a static scene rather than act out a dramatic
sequence of events in a single sandtray. Sometimes there can be more imme-
diate feedback from the picture or story, in the form of insight, enhancing
cognitive understanding of self and of the issues expressed in the sandtray.
The free sandplay method provides the client with a protected context in
which unconscious resolution can take place more freely than in verbal artic-
ulation and exchanges. It is a space where there is safety for the relaxation
of automatic filtering of inner material and where the client grows more
comfortable in trusting that the fantasy, pictures and stories created will
bring relief.
Forming the sand supports a shift in awareness from cognitive and verbal
to kinesthetic involvement. This allows relaxation of defence mechanisms
and frees set ways of thinking. The kinesthetic focus on the sensation of the
sand and the movement of the hands also opens new ways of communicat-
ing and knowing the self. This supports the emergence of emotional issues,
blocked feelings and whatever else may be waiting for resolution in the
unconscious.
Frequently a process of transformation begins to take place. There is a
move from a negative mood to a more positive state. Blocked energy is freed
and the client appears more alive and more communicative. The freedom to
create, without judgement, enhances self-esteem and is in itself very satisfy-
ing. More often with adult clients this process of transformation involves a
clearer cognitive understanding of self, often accompanied by spontaneous
problem-solving.
The sand construction and the arrangement of figurines in the tray express
and reflect a strength for the client from which they may have been discon-
nected. By making concrete or visible any conflict or tension the client is then
able to reconstruct the situation and gain insight and a clearer understanding.
This provides the motivation to continue. It eventually develops self-trust,
inner resources and creative problem solving and enhances intrapersonal and
interpersonal skills, intuition and intellectual clarity. Bradway and McCoard
(1997) state that there is a suspension of judgement during the sandplay and
during the process the facilitator ‘accepts the uniqueness of individuals and
their ways of coping and dealing with their wounds, their problems, their
pathology’.
The process enhances self-esteem as the client is actively involved in
creating the picture. It reinforces a positive sense of self because the client is
the creator of their own healing process. The power is with them – or with-
in them – rather than being with or in the counsellor. Sandplay activates the
self-healing tendencies and so it is the client’s experience of the process which
holds the potential for healing, rather than any therapeutic interpretation of
the sand picture. Any insights or gains made come from within the client and
can be clearly recognised by the client as their own internal power.
Sandplay aids metacognition – thinking about thinking. It acts as an aid
for reflection, helping clients to think about their own cognitive processes.
The use of symbols and sand gives form to the client’s perception of what is
happening in their life.
Differences between sandplay and

symbol work
Sandplay is an undirected process that utilises the therapeutic benefits of free
play. Apart from the opening instructions and interaction in the second stage
of sharing the story or picture, sandplay is not directed by the facilitator. It
is designed to allow the unconscious to emerge at its own speed and accord-
ing to its own readiness. Sandplay allows non-verbal integration, which may
or may not be fully understood by the client. Feelings and understanding
about the creation in the sandtray do not depend on verbal articulation.
Symbol work is directed. It has a specific thematic focus. The aim is to
encourage a client to explore and then discuss a specific situation or their
feelings about it. Symbol work enables the facilitator to gain information and
rapport to assist in moving the counselling process forward.
Working with symbols gives the client an opportunity to draw upon a
universal vocabulary, access to a language that can express their truth with-
out the need for immediate conscious understanding. Symbols reflect back
the material and images held in the psyche. Their three-dimensional, tangible
qualities support a deepening of the counselling process. Through this
deeper dimension the client, supported by the structure of a symbol work
exercise, can begin the process of transforming a difficult situation. Both
adults and children exhibit an ability to understand the meanings of symbols.
Symbol work allows a counsellor to guide a client in the creation of pictures
and stories that represent their most troubling issues. It allows the gathering of
detailed information that can be helpful in suggesting ongoing management
strategies both for the client and for carers.
In confronting the reality of the limits in the amount of counselling a client
may be able to access, we have developed many ways of using symbols that
can more directly and simply provide doorways to address important issues.
The question is often put: ‘If sandplay is so effective why use symbol
work exercises?’. Symbol work is an extension of sandplay that allows a
focus on a specific problem or issue. Few counsellors have the opportunity
to offer regular ongoing sessions, sometimes due to budget limitations,
sometimes due to client preferences. Many agencies which supply a coun-
selling service are limited in the number of sessions they can offer and so nat-
urally have a problem-solving focus. The symbol work exercises certainly
can support clear identification of problems as part of assessment, a first step
in seeking solutions.
Many adult clients come to counselling with a belief that they should
already know or be ready to explain what is wrong, even if they don’t know
what to do about it. For them the ‘blank page’ approach of sandplay can
sometimes feel overwhelming. Signell (in Bradway et al., 1990) found that
some males found it difficult to ‘play in the sand’ and felt a need to focus on
solutions. Signell writes, however, that sandplay and the use of symbols are
important because they offer ‘a rare opportunity for loosening up and
experiencing free-flowing of feelings, imagination and life force that comes
with the interplay of conscious and unconscious’. There are many clients
who can gain trust in the undirected sandplay process via a structured sym-
bol work exercise.
Choosing a symbol from thousands of figurines, spread across several
shelves, may be a daunting task for a distressed client. A gradual introduction
to the value of working with symbols through a simple structured exercise
may give such a client enough experience to gain confidence and develop
internal trust in the process. Relating to the counsellor, telling their life story
with the aid of a few symbols supports outer trust.
Many adults have moved far away from connection with the world of
imaginative play and creative expression. Play and creativity are ingredients
for ongoing emotional health and the development of self-knowledge, and

the therapeutic process may lead them to reclaim these abilities. Initially,
adults who have lost this connection may respond well to structured steps,
guiding questions and clear instructions.
Symbol work exercises help expose, very quickly, patterns or themes of
behaviour or reaction and hence activate or excite interest in self-discovery.
Drawing, writing in a journal or reflecting on a personal collection of symbols
can support the translation of the experience in the counselling setting directly
into everyday life.
What can quickly be seen from symbol work exercises is that self-discovery
and counselling are not about focusing on or finding faults, even though there
may be ‘things’ that a person is doing or responding to that are not healthy or
‘right’. Symbol work exercises focus attention on the contents of the client’s
unconscious while the emotional release counsellor offers support in a way
that is not intrusive or judgemental.
The exercises quickly lead a client to gain an overview of previously
unconscious patterns of reaction, behaviour and ways of relating. Gaining
this overview is an empowering experience. This overview reinforces the
basic principle in ERC that each person has their own inner wisdom, that the
expert on who we are and what we need is actually inside us. Gaining the
overview also brings a feeling of hope and strength which enables clients to
acknowledge their pain and begin the healing process. The symbols mediate
between ego consciousness and the unconscious in a way which still allows
some gentle guidance from the ego, and results in a more harmonious,
balanced relationship between conscious and unconscious. Both sandplay
and symbol work exercises can be used to great advantage to work through
a normal developmental conflict or to regain a sense of balance after a trau-
matic incident.
The evolution of sandplay as used in ERC

A non-fiction book by H. G. Wells, Floor Games (1911) inspired the creation
of what Dr Margaret Lowenfeld called the ‘World Technique’ (1999).
Lowenfeld left an orthodox paediatric practice to found one of the first psy-
chological clinics for children in England in 1928. She gathered objects to be
used by children in their therapy sessions and through the development of
her World Technique she used children’s natural inclination to play, helping
them reveal their inner life and articulate their concerns. She credited her
child clients with the discovery of this method.
Lowenfeld hoped to find a medium which would be attractive to children
and would give them, and the facilitator, a language to establish communi-
cation. By 1930 her clinic was known as the Institute of Child Psychology
and had become a research and training centre as well as a clinic. At the
Institute they adopted a holistic approach, and provided various play media,
such as construction material, equipment that supported movement and
destruction – clay, hammers, punching toys – and materials for expressing

fantasy – such as blocks, dolls and art materials. Lowenfeld’s book, Play in
Childhood (1935, reprinted 1999), explains play as a healing modality and is
still in use today.
Dora Kalff, a student and colleague of Carl Jung and Emma Jung,
attended a lecture by Lowenfeld in 1954 and was very impressed. By 1956
Kalff had completed her studies required for certification as a Jungian an-
alyst through the Jung Institute in Zurich. She developed an interest in
Lowenfeld’s work, sensing it as a symbolic tool that could be used by
children. She spent 1956 studying with Lowenfeld, and others, in London.
Returning to her practice in Switzerland Kalff spent some time integrating
her understanding of the Jungian approach to symbology and consulting
with Jung on the process. Kalff named the newly developed process ‘sand-
play’, and after some years of using it with children, found it to be equally
valuable when used with adults.
Kalff had a lifelong interest in the East and found the Asian philosophies
supportive of her work with sandplay. She had long-term friendships
with Tibetan Buddhists, had several meetings with the Dalai Lama and
found support from her study of Zen Buddhism with its focus on one’s own
inner resources. Kalff found that sandplay was enthusiastically welcomed in
Japan – where it was seen as similar to their tradition of miniature world-
making. She taught the process there from 1966 until her death in 1990.
Kalff’s approach to sandplay was taught in Australia for a brief time by
Jungian analyst Patrick Jansen while he was co-director of the Living Water
Centre in the Blue Mountains, NSW. We trained at the Living Water Centre,
which was Australia’s first educational and personal development centre to
combine Jung’s and Kalff’s work with the experiential modalities of transper-
sonal and Gestalt psychology.
Based on many of the same principles as ERC, sandplay became a natural
component of the ERC approach with children, adolescents and adults. The
methodology of Frederick Perls’ Gestalt role-play dreamwork was adapted for
use with sandplay symbols, enabling clients to be even more expressive and
deepen their understanding of their symbols. Great flexibility in supporting
the client also came from extending the process to include emotional release
process work if indicated.
The symbol work exercises presented in Chapter 4 have been developed
since 1990 as an extension of traditional sandplay. We have designed them
to be used as a segment of a counselling session. They may be blended with
other approaches and can operate at the level of readiness of the client. They
have proved to be ideally suited to contemporary counselling, and allow a
gentle, but direct focus on areas of difficulty.
The symbol work exercises have been created for use within individual
and group counselling and personal development programs. Many of our
exercises have been used with children, adolescents and adults for more than
ten years.
For a detailed history of sandplay and a comprehensive bibliography on

the subject see Sandplay – Past, Present and Future, by Rie Rogers Mitchell and
Harriet Friedman (see page 121).
Sandplay and symbol work in ERC

ERC was introduced in 1987, based on the research, writing and methods of
several pioneers in the field of psychotherapy, counselling and consciousness
research. ERC is an Australian development and has been described by
Pearson and Nolan (1991, 1995) and further by Pearson (1997, 1998). ERC
training programs have been in operation around Australia since 1989.
Emotional release process work is a central part of ERC. It deals with both
the strong and subtle emotions that may be behind our behaviour patterns.
It is designed to be used by trained and experienced counsellors. Processing
is the part of counselling work where strong reactive feelings can be released
directly. Processing may deal with anger, grief, irritation, or jealousy, and it
usually involves some physical and emotional expression.
An important component of ERC is the development of inner life skills.
This involves counsellors in supporting clients to gain the skills to under-
stand and deal with their inner life – their feelings, moods, reactions, body
sensations, dreams and fantasies, etc. It is the aspect of ERC most rele-
vant for classroom teachers, personal development facilitators and spiritual
directors. These skills have an educational aim and involve clients, students
and seekers in learning new ways of self-understanding, self-discovery, man-
agement of emotions, and relating to and supporting others.
Recently created family communication exercises (Pearson, 1998) are
designed to be both preventative and therapeutic. These are exercises that
encourage self-expression, self-discovery and enhanced communication be-
tween parents and children. The games are usually modelled by a counsellor,
who may support a trial run with at least a child and one parent, but they are
designed for parents and children to explore at home.
There are several fundamental principles of ERC that are particularly
relevant to sandplay and symbol work. The first is that there is a natural,
in-built movement in the psyche towards emotional and psychological heal-
ing. Accompanying this is an intrinsic interest in self-discovery, even if this
interest is covered over by difficult feelings from the past.
Another principle relates to the way we can heal through involving
body, mind and feelings. The effectiveness of this experiential approach is
enhanced by using breath, sound and movement in the counselling process.
ERC is a collection of modalities that are coordinated by these main
principles. The exercises fall into several broad categories:
• encouraging clients to talk about themselves during the initial consul-
tations – encouragement is given via the use of discussion questions,
body awareness exercises, journal writing and drawing
• self-awareness, with the use of body focus

• emotional release processes that may include energy release through

sound and movement, bioenergetic exercises, safe anger release and
work with reactions
• using symbols through the work with sandplay, directed symbol work,
Gestalt role-play and dreamwork
• breathwork, an adult process (not used with children), that allows deep
emotional release and self-discovery
• self-esteem work, often using visualisations
• relaxation and meditation.
ERC aims to support a client to release feelings and reveal what is under
the surface of consciousness. The emotions contacted are often – though not
always – found in layers, as if we were mining down from the surface layers
of personality towards the real self. The following layers can also be observed
at times in a client’s series of sandplays:
• chaos, frustration, irritation, resentment
• anger, inner conflicts
• rage, hate
• hurts beneath anger
• sadness, grief
• tenderness, openness, love, sense of order
• self as valuable, sense of own resources, sense of strength
• reinforcement of positive sense of self, emergence of spiritual
qualities.
Carey (1999) lists the stages or layers as:

• chaos
• beginnings of integration of the psyche
• conflict
• separation – development of a separate identity
• relating to the world healthily.
These layers may come to consciousness and be expressed a number of

times before emotional healing is complete. Sometimes clients may find
themselves seemingly stuck in a loop, cycling through the top three layers.
Staying angry can feel stronger than feeling vulnerable to hurts. It can be the
counsellor’s role to provide a safe environment so that surrender of defences
allows the client to contact deeper layers of feeling.
Basic principles underlying ERC and

sandplay practice
The following principles apply to ERC generally and to the way sandplay
and symbol work are undertaken in ERC.
• Emotional healing takes time and rest just as physical healing does.

• ERC allows personal exploration to move between the conscious and

the unconscious; between the biographical, perinatal and transpersonal
levels of our psyche.
• ERC supports clients in rediscovering their own resources and as much
as possible refers directorship of the counselling process back to them.
• ERC begins by developing outer and inner trust. Outer trust grows
through the personal meeting with a counsellor, with the feeling of total
acceptance and a simple and clear framework for the processes. Inner trust
develops through inner world exploration that allows strength to emerge.
• The difference between acceptable behaviour in the counselling room
and in everyday life needs to be clear. However, if clients feel safe
enough to allow release in the counselling room there is usually a
reduction in the tendency or need to act out in daily life.
• Safe use of the methods depends greatly on the stage of personal devel-
opment, training and experience of the counsellor. A trained counsellor
develops a sense of ease with the feeling world that is conveyed to the
client, creating a climate of permission for deep release. The experiential
nature of ERC training can prepare a counsellor to develop empathy and
openness, and to let go of judgemental thoughts and actions. The more
personal development work the counsellor has undertaken, the less the
risk of unconscious projection and discomfort with any dramatic
material from the client.
• The emotional release counsellor should be able to move between
modalities in order to meet clients ‘where they are’. This skill supports
finding the best ‘doorway’ through which to support entry into the
client’s inner world.
• Interpretation of an individual’s inner world and its symbols by an
external observer can inhibit self-discovery. It is therefore important not
to advise a client about what their inner journey should be or give a set
meaning to any sandplay, dream or fantasy symbols.
• It is helpful in counselling sessions to support the reversal of old shallow
breathing patterns. Many ERC exercises help breathing expand and this
helps a client open to feeling, and may bring a release of held emotions
and energies.
• ERC methods aim to free up restricted sounding and movement
patterns, so that long-held-in words, statements, sounds and movements
can release safely.
What supports emotional healing?

ERC is based on the premise that feeling emotions and energy and express-
ing them (in appropriate ways) keeps us mentally healthy, or returns us to
health. The natural state of energy and emotions is movement, expansion
and creation.

• Since emotional healing takes place in the body and its energy, ERC
works to help clients become more in touch with their body, as well as
knowing what they are feeling and thinking.
• We each have an in-built interest in self-discovery. Mostly this has been
covered over by disappointment and trauma. ERC methods allow it to
re-emerge, forming the basis for cooperation in the counselling endeavour.
• Each psyche has a natural in-built, intelligent movement towards whole-
ness. We call this the ‘inner healer’. ERC opens and frees trapped energy
and allows the natural inner healing mechanism to direct the emotional
healing work. Long-term emotional healing is based on trusting the
wisdom of the inner healer. The inner healer can emerge when a client
gains trust in the facilitator and their own inner world. This inner force
reveals, with its own logic, what the client needs to remember, feel,
release or integrate. Problems in the counselling process can arise if the
facilitator has a preset notion of what ought to happen and when it
should happen.
• In the unconscious there are often links between the causes of strong
reactions in daily life and past difficulties. When a client is ready, ERC
can support the clearing of unfinished business from the past so that
they may live more fully in the present. A natural trajectory of the ERC
process is the assisting of clients to heal their inner hurts. There is
support for them to become less defended, open to others and to the
positivity and creativity of their own inner world.
• Negative feelings and memories in the unconscious are active, having an
influence on how we make choices and live our lives. Bringing them to
consciousness is the first step in disempowering them. For sustained
emotional healing it is vital that the shadow aspects of the personality
be explored, released, accommodated and integrated.
• Positive qualities, feelings and memories in the unconscious can be
inactive, or overshadowed by negative beliefs and attitudes caused by
past hurt. Making the positive material conscious again empowers it to
be expressed and to become an active part of the personality.
• In a healthy system the body, mind and feelings work as a whole.
Feelings that are too confronting to experience or express bring into
play an attempt at suppression. When the feelings are blocked or stuck
they are experienced as negative. They are held in muscular tension or
‘armouring’, they cause disruptive or destructive thoughts and they are
finally expressed as negative actions.
• Under physical tension and pain there is often some emotional holding
and emotional pain. When the physical symptom is given some
sustained attention, with the support of some deep breaths and inner
focus, the client can often recontact the underlying feelings and express
them therapeutically. This usually leads to relaxation. A state of calm
and positivity is restored in the body and the mind.

• Many of us have a part of our personality constellated around the hurts

and disappointments of childhood. This focal point of our childhood
scripts is a combination of repressed feelings, negative beliefs about self
and behaviour patterns connected with defence and survival. Healing old
feelings allows separation from any negative legacy of the past. ERC
supports the re-integration of all real aspects of a client’s personality.
However, clients benefit most when there can be some separation from
the hurt inner child constellation, when it is being healed and its impact
on the personality is reduced. The power of these scripts is reduced by
repeatedly allowing times of deep feeling (in a safe, supported space)
of what could not be fully felt in the past.
• Traumas are events so painful emotionally or physically that they
have to be separated, or repressed, from consciousness. The impact of
traumatic events can build up in the unconscious from as far back as our
time in the womb. When there is a protective shut-down of feelings the
unconscious material can have a pervasive negative and limiting effect
on the psyche.
• Repression is an unconscious mechanism whereby thoughts, feelings and
sensations are locked away from our usual consciousness as a protection
from emotional pain. Many clients carry significant amounts of repressed
material which causes problems in their inner and outer life. ERC aims to
create supportive conditions in which a client can feel safe to gradually
open to what has been repressed, in order to feel and release it.
• Defence mechanisms are those reactions which tend to come up at
times of stronger feeling to protect us from underlying emotional pain.
Defences include denial, projection onto others, blame of others, intel-
lectualising of feelings, continual argument about details, etc. For a client
to begin to let go of defences requires a readiness and willingness to feel
what was being defended. This can take time.
• Children often have to turn their frustration and anger inwards. They
may have come to believe that they were to blame for what in reality
were shortcomings in their early environment. Any patterns of being
self-destructive, taking on blame, or being continually self-critical
can gradually be healed by being expressed in the counselling room.
Directing feelings symbolically towards the causes of emotional
containment or self-criticism enhances the therapeutic benefit.
• Angry and violent outbursts and over-the-top reactions come from the
backlog of repressed feelings. To help resolve present emotional crises
the client may be supported to connect with emotional layers under-
neath, to the original hurts. They can come to new emotional freedom
through feeling and expressing these underlying hurts in emotional
release process work. The main principle in emotional release process
work is the support for a client to reconnect with any incomplete
emotions in order to begin their release. When mobilised the feelings
can release through the body, through movement and through sound.
• In the psyche there are layers of feelings. Under negative feelings are
positive feelings. For example, the energy of anger can hold so much of
our potential: strength, authority, aliveness, assertiveness, sense of self.
Deep under anger there is often hurt or sadness. When hurt is healed the
original underlying state of love and tenderness is again accessible.
Sandplay literature and research

Along with a detailed history of sandplay, Mitchell and Friedman (1994)
discuss research and publications on sandplay. In the English language they
list 87 journal articles (many from the International Journal of Sandplay
Therapy), 24 books, 21 conference presentations, 7 Masters theses and 12
Doctoral dissertations. They also list non-English publications: 72 journal
articles (mostly from Japan) and 13 books. In the years since 1994 there have
been five new English language sandplay books, including ours.
The International Society for Sandplay Therapy holds many papers on
sandplay and many detailed case reports submitted by sandplay therapists as
part of their certification process (for web page information see page 124).
Mitchell and Friedman list a wide range of sandplay applications discussed
in the Masters and Doctoral papers. There are research papers and case
reports covering sandplay in a classroom with learning disabled children,
work with abused children, adults molested as children, rites of passage, the
relation of sandplay to art therapy, women’s spirituality, the use of animal
imagery, structures for cognitive analysis of sandplay, as well as several
exploring its general effectiveness.
We are aware of several Australian sandplay research papers, one of which
has been authored by a Queensland guidance officer, Patrick O’Brien. His
1998 dissertation is an analysis of using sandplay and associated modalities
with children in a school setting. O’Brien draws links between the sandplay
and symbol work processes and Howard Gardner’s (1983) theories of mul-
tiple intelligence. O’Brien produces some of Australia’s first statistical evi-
dence for the effectiveness of these dynamic experiential methods.
Sandplay as an aid to counselling in schools

Canadians John Allan, a professor of elementary school counselling, and
Pat Berry, a primary class teacher, reported their use of sandplay for counselling
children in the American journal Elementary School Guidance and Counselling (see
page 121). They discuss the sandplay process in a way that corresponds to the
ERC approach. Their article concludes with the statement that productive per-
sonality development and effective learning are enhanced when repressed
energy is released and can transform into available positive energy.
Allan and Berry found that classroom teachers comment on a student’s
relaxed mood and enhanced ability to become involved in school work after
sandplay. They note that children seem calmer and happier, and exhibit a
sense of humour after the sessions. They recommend student participation
in eight to ten sessions, after which they note a dramatic improvement, with
the child responding positively to normal controls and limitations imposed
by teachers.
Their case study of a male second grader, referred for counselling due to
inappropriate behaviour in both classroom and playground, reported the stu-
dent’s gains from sandplay as:
• a reduction in impulsive and aggressive behaviour
• improvement in social skills
• an ability to channel energy into art and soccer.
Their findings mirror the many verbal reports we receive from Guidance
Officers who have graduated from our courses.
Lois Carey (1990, see page 121) reports on sandplay therapy over six months
with a nine-year-old boy with speech and language disorders, referred by the
school psychologist. While the sandplay sessions did not take place within the
school setting, there are reports from teachers that the boy’s concentration in
class improved greatly. The teachers also reported an improvement in peer rela-
tions, which had been non-existent prior to treatment.
Vinturella and James (1987, see page 122) present a case report of an eight-
year-old boy with dramatic mood changes and aggressive behaviour that fre-
quently resulted in negative consequences at school. Over six sessions this
boy worked through some aspects of the recent death of his father. The fifth
session also involved his mother, who created a sandplay with the boy.
Vinturella and James describe a variety of ways sandplay is used by coun-
sellors of different therapeutic orientations:
• Behaviourists use it as a diagnostic tool for obtaining baseline information.
• Psychoanalytic therapists use it to detect unconscious conflicts.
• Jungian analysts monitor and support the individuation process.
• Gestalt counsellors use it as a tool to separate figure from ground and
resolve polarities through enactment.
• Child-centred counsellors create a climate of acceptance in which the
child’s self-regulatory and actualising tendencies are maximised.
• Family counsellors use it with children and families to explore family
boundaries, structure and dysfunctional patterns of interaction in the
family system.
Vinturella and James also describe how sandplay supports both intro-
verted and extroverted clients. The introverted orientation is used in the soli-
tary construction of the picture and the extroverted orientation is used in the
telling of the story. They also strongly recommend that a counsellor using
sandplay use person-centred techniques, such as their restatement of content
and reflection of feelings to support the client’s identification of meanings of
symbols and sand pictures. They suggest the counsellor might gently offer
open-ended questions to help a client tell the story. This is a similar approach
to what is called ‘self-discovery questioning’ in ERC, and further supports
the link between these two approaches.

Vinturella and James further suggest that parents could be trained to

facilitate sandplay with their children at home. While there are many ways
parents can help their children with ‘emotional first-aid’ at home (see page
96), many reports from trainees show that working with their own children
does not produce the same therapeutic benefit as working with a neutral
counsellor. Parents can show an interest in discussing their children’s sand-
plays, and this may support a positive effect on the parent–child relationship.
However, many children will not want to discuss their sandplays, having
integrated the contents, and may prefer to simply move on to another activ-
ity or topic.
In their article ‘Jungian play therapy in elementary schools’ Allan and
Brown (1993) discuss the Jungian emphasis on activating the self-healing
force in a child’s psyche. They maintain that once this is activated the child
will act out play themes that are significant to their own struggles. This
article clearly relates Jung’s ideas to counselling with children. Allan and
Brown’s observations show that the externalisation and projection of con-
flicts, in the counselling context, help the child’s ego to deal in a tangible way
with painful unconscious struggles and negative feelings.
Allan and Brown propose a simple model for counselling in schools where
there is a need to balance the needs of the child with the needs of the school.
Counselling in this context should have an initial inner world focus, fol-
lowed by a time devoted to addressing issues raised by teachers or parents.
Successful treatment, they say, is based not only on the positive therapeutic
alliance between counsellor and child, but also on the positive alliance with
the teacher and parent. They recommend that themes, toys or symbols that
become significant for the child be somehow integrated into classroom
activities, either through projects, related reading material or a leadership
role in classroom discussions on a related topic.
In their case study with an eight-year-old male, they report that ‘the
opportunity to release his hurt and aggressive feelings freed up the positive,
guiding power of the psyche, through drawing and sandplay’.
Another exponent of sandplay in primary schools, Carmichael (1994),
outlines the role of the counsellor and typical stages in the sessions. She
found that sandplay was most suitable for students with low self-esteem or
poor academic progress, or who exhibited very active behaviours. She rec-
ommends sandplay as a viable, low-risk intervention for school counsellors
that has been found to be highly successful.
In Australia Helen Tereba (1999), as part of her Masters in Counselling
project, used ERC exercises, including symbol work, to create and pilot a
primary peer support program called ‘Time Travellers’. This was designed
for children affected by separation or divorce. She conducted this in a
Brisbane primary school. She found that the experiential nature of ERC and
the use of symbols enhanced the degree of self-disclosure and increased the
number of times children made and shared supportive comments. We expect
this program to be published in the future.
A growing number of school guidance officers and school counsellors

have trained in sandplay and symbol work with the authors. Through a for-
mal research questionnaire, informal phone reports and ongoing supervision,
they continue to report great progress and satisfaction with these methods.
Sandplay and multiple intelligences

The theory of multiple intelligences was developed by Harvard researcher
Howard Gardner (1983). He originally proposed that we have seven differ-
ent ways of learning and knowing – seven intelligences. This theory has
been effectively used in school curriculum development around the world.
An interface between this theory and the counselling process has been
researched in Australia by Patrick O’Brien (1998), using sandplay as his
primary counselling method. A link between the intelligences and ERC is
discussed by Pearson (1998).
From a basis in cognitive psychology Gardner identified seven intelligences:
• verbal/linguistic intelligence – relates to words and language
• logical/mathematical intelligence – deals with inductive and deductive
reasoning, numbers and relationships
• visual/spatial intelligence – includes being able to visualise an object and
to create mental images
• bodily/kinesthetic intelligence – relates to physical movement and the
knowledge of the body and how it functions
• musical/rhythmical intelligence – includes the ability to recognise tonal
patterns, rhythm and beat
• interpersonal intelligence – used in person-to-person relationships
• intrapersonal intelligence – based on knowledge of the ‘self’ (includes
metacognition, emotional responses, self-reflection and an awareness of
metaphysical concepts).
Gardner found that children’s learning increased when more than two
or three intelligences were operating in learning tasks. O’Brien asks
‘Does Gardner’s theory of multiple intelligences have an application for
counselling?’. This question was addressed in his doctoral work based on ten
Australian case studies in a school setting. Referrals for counselling were
made on the basis of expressions of physical violence and failure to follow
teacher directions. The findings support the effectiveness of a counselling
approach which utilises multiple intelligences.
O’Brien had previously undertaken training in the use of ERC exercises
and sandplay, which rate highly in the number of intelligences utilised. He
worked with the sample group using ERC and non-directive play therapy,
with sandplay as the major modality.
The findings, while illuminating the application of multiple intelligences as a
foundation theory for counselling, also support the value of sandplay as a
modality that can integrate many of the intelligences. He writes: ‘Such is the

nature of sandplay, that it seems to include the use of all of Gardner’s seven
intelligences at various times throughout the play session.’
O’Brien found that all but one client preferred to use the interpersonal
intelligence in their counselling sessions, and that the clients came to
counselling with their own unique intelligence preferences. The existence of
a range of preferences indicated that counsellors do need to accommodate
this range. His results imply that counsellors should use more than the
traditional verbal strategies.
Rather than primarily using the logical/mathematical intelligence – favoured
in most behaviour management programs – he found that children prefer to
solve problems using a variety of intelligences. As confidence in the use of one
intelligence grows, children will more readily move to the use of another intel-
ligence. Integration can occur in any of the seven intelligences. Interestingly,
silence from the client may allow another intelligence to be used.
He also found that the multiple intelligences technique seemed to lower
resistance within the child and diminish the impact of ego defences, a find-
ing that is in accord with the clinical observations with ERC and sandplay.
O’Brien developed and used multiple intelligence questions for his coun-
selling practice. These are similar to the ‘self-discovery questions’ that ERC
counsellors routinely use. Use of intrapersonal questions was generally effec-
tive and caused the intrapersonal intelligence to act as a hub – assisting the
children to make sense of the counselling activities in a personal way.
O’Brien found that the non-directive and least intrusive interventions
were the most effective, just as we have found that non-directive play
therapy and ERC empower children by encouraging choices in the use of
media (hence intelligence). Baloche (1996) also found that giving clients
choices adds significantly to their motivation and creativity.
An important finding in O’Brien’s study was that the group (all with
behaviour problems) did not tend to use the logical/mathematical intelli-
gence. This finding has implications for school-based programs where the
reasoning process is most often used as a basis for attempting to change
behaviour. Students with significant behaviour problems may find it difficult
to engage with traditional behaviour management programs.
This study found many links between a proposed multiple intelligence
framework for counselling and ERC and sandplay. ‘It would appear that
sandplay is the cornerstone of a framework to counselling with multiple
intelligences.’
When the freedom of the non-directive approach is offered through sand-
play, clients can naturally make choices in their expression and use a variety
of intelligences. When the counsellor maintains an attitude of allowing,
rather than prescribing, dominance of use of a set intelligence is reduced.

Sandplay and academic improvement

Noyes (1981, see page 122) presents evidence of the value of sandplay in
enhancing the teaching of reading. Noyes began to use symbols, then later
added a sandtray, allowing students in her remedial reading classes to access
a private space to create pictures and stories. She offered no direction or
interpretation and did not draw out her students about their stories or the
issues behind them. She felt that the two most important elements were the
privacy of the play and her silent acknowledgement and acceptance of what-
ever pictures they made. These elements resulted in a feeling of security and
freedom in the students – two elements identified by Dora Kalff as essential
for successful sandplay therapy.
Not surprisingly, Noyes found sandplay to have a calming effect on the stu-
dents. It engendered an ‘immediate and deeper rapport between teacher and
child’. She attributed the increase in academic growth in her students partly
to this rapport and partly to the fact that the pressure of their inner life was
decreased by engaging in sandplay. Students’ minds were clearer and they
were able to focus on academic tasks with greater vitality and motivation.
Noyes also points out that the sandplay process draws on the right side of
the brain and that this helps the student to make ‘leaps of insight necessary
to become a “top down” reader’. Working in the sand trains and activates the
creative right brain in the visual skills needed to connect the graphic infor-
mation on the reading page.
Noyes observed that types, and times, of changes in students varied.
Sometimes change occurred immediately, sometimes after a few weeks of
sandplay. One significant change she noted was more academic improve-
ment than she had been accustomed to in her many years of teaching chil-
dren with learning and reading disabilities. Other staff reported a decrease in
the number of these students being sent to the office for bad behaviour.
Attendance also improved.
Noyes compared the average growth in reading age of her pupils over the
two years before using sandplay, as well as the year when it was used, as
measured on the Woodcock test. The improvement averages were:
• 1st year – nine months
• 2nd year – eight months
• year when sandplay used – one year and six months.
She found her sixth graders took to the sandplay with the most enthusi-
asm and their scores showed the greatest improvement.
Alana Vaney, a special education teacher in one of our training courses,
has been using symbols with great success as an aid in teaching literacy.
She writes:
The little hands hover excitedly over the basket of symbols I am handing around. Kay
really wants the glistening, snow-white fairy and Robert hopes no one takes the roar-
ing dragon. Hands are itching for the missile blaster and others for the little green alien.
‘I want the house!’

‘The army tank’s mine!’

These are the responses of a small group of seven-year-olds who are finding it hard
to enter the doors of literacy. What they have so tantalisingly before them are all sorts of
creatures, from little dogs to magical wizards and a myriad of objects, from trees to fur-
niture. These symbols are kept in my cabinet with glass doors, arranged somewhat like
Grandma’s china cupboard. They are taken out for the special occasion of learning.
When, for instance, a child selects a family of dinosaurs, trees and little people, a
story naturally unfolds. The toys are manipulative, kinesthetic, stimulating and fun.
They can be arranged in the sand in a group story or on large pieces of paper as
individual ones. The children tell the stories as they move the symbols. A tree becomes
a forest, a mirror a lake, and the sand is often desert or beach. I help the structure of
their storytelling by providing cards saying: BEGINNING: ‘Once upon a time in the
middle of the night ...’, AND THEN: ‘The little dinosaur was all alone in the desert’,
AND THEN: ‘A wicked little snake came along’. This goes along until the END card.
A HOW DID THEY FEEL? card adds the emotional aspect.
Young children also love to arrange the alphabet tiles in sequence and then find the
right place for their symbols according to beginning, middle or end sound. This process
naturally leads to stories as ants crawl over astronauts, wizards and witches work
magic and frogs crawl into flowers!
I’m discovering new ways to use the symbols every day. Sometimes I arrange a few
symbols in the centre of a circle at the end of a class and invite the children to choose
one favourite. We can Gestalt that symbol or just say a describing word about it. This
strengthens self-esteem and language skills simultaneously. Even Grade Seven spellers
have latched on to symbols, finding it a challenge to pick a few to spell!
Often in schools it’s hard to find time to work with children individually in ERC but
I’m discovering many ways for the numinous magic of symbols to infuse learning with
a sense of wonder.
Sandplay with abused children

Miller and Boe (1990), describing their ‘Tears into Diamonds’ program,
achieved great success using sandplay and storytelling in a hospital setting
with children who had been extremely traumatised (see page 122). The ward
housed about fourteen children between the ages of four and twelve years.
After a year of research, they designed a program using two treatment
modalities that communicate on a deep level through metaphor: sandplay
and storytelling. For the storytelling they used fairy tales and children’s
stories matched to the child’s sandtray and history.
They discuss the treatment of two girls, aged ten and eight, who were seen
twice a week for sandplay therapy over an eighteen-month period. They felt
that addressing the trauma in a non-threatening way was vital as children are
vulnerable to developmental disturbance from trauma and have a crucial need
for ‘consistent attachment to an interactive, resonating adult figure’. They
note that traumatised children may experience massive numbing, emotional

withdrawal, and/or aggressive behaviour, and found that sandplay helped

reduce these symptoms.
They comment that children in a highly disturbed emotional and cogni-
tive state can hardly begin to describe the trauma, let alone deal with it. So
verbal therapy offers very limited use in these cases. They found that non-
directive play was particularly useful for traumatised and abused children, as
through the play the child can finally be in charge. They quote research
showing this type of imaginative play decreases anxiety and aggression.
They found that the stories gave hope by introducing the concept of psy-
chological transformation.
A sandplay therapist who specialises in sexual abuse treatment, Grubbs
(1994) has found sandplay to be highly effective with these clients. Working
from a Jungian background, Grubbs describes the process of twelve sandplay
sessions with a twelve-year-old boy who had been sexually abused. He
observed a development in this client from a chaotic, self-destructive and
hostile world expression, to sandtrays revealing a resolution of inner chaos,
internal ordering and creation of clear boundaries. There was a confrontation
and symbolic killing of the perpetrator and the discovery of a safe and
enchanted world within himself.
An American researcher, Ruth Zinni (1997), working with fifty-two chil-
dren, found that there were clear differences between the contents and themes
of sand pictures, and the approach to the sandplay process, between children
referred by a clinic (who had been emotionally, physically or sexually abused
or neglected) and a control group. There were clear differences between the
children who were experiencing emotional stress and those who were not.
She concludes that sandplay is a useful assessment tool in therapeutic work
with children.
Research on the use of symbols in a sandtray with forty physically and
sexually abused children has been conducted through Macquarie University,
NSW. Juliet Harper (1991) reports on her study with children aged three and
a half to ten years. She used a modification of Lowenfeld’s World Technique,
observing four sand pictures by each child. She found that the themes of nur-
ture and protection significantly defined the play of the sexually abused
group. The group who had experienced physical abuse displayed themes of
conflict and aggression and were closed and disorganised. She found that
two striking characteristics of the sand worlds of the sexually abused chil-
dren were a lack of fantasy and a reluctance to provide narratives.
Harper noted that the play of the sexually abused children was compliant
and well organised. However, Harper felt that beneath the surface there was
a ‘subtle and pervasive emotional disturbance which would perhaps not
become apparent until triggered by developmental crises such as puberty,
courtship, marriage, or childbirth’.

An experienced social worker who trained with us is now using sandplay

as a regular part of her counselling work with children in a Queensland com-
munity health centre. She reports:
Sandplay and symbol work now has a central place in my practice. I have noticed
when using it, that children and adults can make what seems like a quantum leap in
understanding of themselves and their situation. It seems to allow people to access
strengths and knowledge which were previously inaccessible, and the positive change
in their emotional state can be quite profound. My experience of using sandplay and
symbol work has been exciting and rewarding – and a little bit like magic!
Sandplay and grieving

Heather Teakle, who trained in sandplay with Patrick Jansen at the Living
Water Centre, wrote about the use of sandplay in helping her two young
daughters work through the grief of losing their father. Her moving and prac-
tical book, My Daddy Died – Supporting Young Children in Grief (1992),
describes many ways of working through loss. Heather used both directed
symbol work exercises and sandplay and writes: ‘In playing out the issue,
energy related to the difficulty moves and there is partial or often complete
resolution’. She also describes dramatic behaviour changes in a young hyper-
active male client after just one session.
Sandplay, symbol work and ERC in

Australian group programs
A group program for children of parents with a mental illness was created by
an agency in Victoria. Along with other activities, the ERC and symbol work
exercises have been incorporated to enhance the group communication.
A Turnaround trainee, who works with another Victorian agency support-
ing children with a terminal illness, uses symbols and other ERC exercises
with a sibling support program.

Chapter 2
A gathering of wisdom –
the Jungian heritage and
contemporary sandplay
I am deeply moved again and again at the discovery of how close the child’s psyche is to spiritual
and healing forces.
Dora Kalff, Sandplay, Sigo, 1980
or contemporary Western counsellors and therapists who have worked
F from a cognitive or behaviourist perspective, and have not explored Jung-

ian psychology, understanding the benefits of sandplay and the client-
centred, self-discovery approach may call for a paradigm shift.
For those working in an educational setting in Australia, rational behaviour
modification approaches based on the assumption of supremacy of the intel-
lect may have to be set aside in order to understand the therapeutic benefits
of working with the imagination and with ERC approaches. At present there
is little research data generated in Australia that focuses on the benefits of the
ERC and sandplay methods. Happily this is changing.
Deciphering some of the Jungian-based literature may be a challenging task.
However, there is value in expanding our conceptions of what can happen
therapeutically with clients, while gaining a new language for creation of effec-
tive counselling interventions. Experiencing the paradigm shift required to
empathically support the full range of emotional release modalities including
sandplay, symbol work and imaginative play therapy is empowering for the
therapist. Some components of the paradigm shift are discussed in Chapter 3.
This section provides a brief survey of key concepts of the traditional
Jungian approach to sandplay and their links with contemporary ERC. This
material was first described by Dora Kalff, and introduced in the German
language in 1966, and then in English in 1971, with a second edition in 1980
with her book Sandplay – A Psychotherapeutic Approach to the Psyche.
In this section we have used the work of Kalff (1980), Weinrib (1983),
Ammann (1991), and Bradway and McCoard (1997) and others to clarify the
Jungian framework for use of sandplay therapy.
Some aims of sandplay

In considering some of the aims of the Jungian approach to sandplay, we
move away from the contemporary focus on dealing directly with behaviour.
24
Several basic assumptions from Jungian psychology inform the free sand-
play method:
• There is an in-built force in the psyche that moves us towards emotional
and psychological healing.
• The psyche is moving towards emergence of the Self.
• The unconscious has more power over behaviour and attitudes than
the conscious.
• The shadow side needs to be explored and safely released.
• Imagery is the primary language of the unconscious, and these images
need expression.
• The psyche has an innate spiritual component.
• Emotional and psychological problems can arise if this spiritual
component is ignored or denied.
It is a feature of Jung’s approach to the psyche that spirituality is considered
a vital ingredient. In working with children and adolescents, Kalff repeatedly
noticed that in puberty, besides the physical development, spiritual deepening
occurs. This tallies with our own observations and those brought to our group
supervision sessions by school counsellors and guidance officers. Many adult
clients report a broadening of their own understanding and experience of
spirituality through sandplay. Sandplay allows some expression of the
spiritual impulse – even if the client does not recognise this in their cognitive
understanding.
Kalff aimed to provide opportunities for the spiritual impulse to emerge.
She believed that since rites of passage have largely disappeared from Western
culture or have lost their deep meaning, it is especially important in therapy
with adolescents – as well as with adults – to deal with the questions of god,
spirit and the divine. She says: ‘only in the relationship to the archetype of the
Divine in man can the juvenile really accomplish the transformation to adult-
hood’ (1980).
Jungian analysis aimed to develop the client’s maturity so that the client
could separate from the unconscious and then reconnect to it and continue a
relationship between consciousness and the unconscious. An important
aspect of psychological health was that there should be some choice about
the time needed for the unconscious to express, rather than being at its
mercy, or driven by its unreleased contents. According to Weinrib, an aim of
Jungian analysis and sandplay therapy is ‘to relativise the ego’. This means
that the ego relinquishes its seeming dominance and the person’s psyche
re-establishes a connection and continuing relationship between conscious-
ness and the unconscious.
In the process of what Jung called the ‘sacrifice of consciousness’ the con-
scious ego is called to give up its control in order to move into connection
with the unconscious. The energy release that many clients report when there
are shifts and transformations in the psyche is connected with this process.
This release of energy can give that special feeling of gentle excitement and
Chapter 2 A gathering of wisdom 25

expansion that is connected with an experiential state which Jung so often

referred to as ‘numinous’.
Sandplay therapy enables a different way of knowing, allows a more
feminine encounter with the inner self. Estelle Weinrib (1983) writes that the
primary aim of sandplay is ‘the re-establishment of access to the feminine
elements of the psyche in both men and women, elements that have been
repressed in Western Judeo-Christian culture’. Part of this process involves
the emergence of what Jung called ‘the Self’. Dora Kalff writes: ‘I want to
emphasise that the manifestation of the Self, this inner order, this pattern
for wholeness, is the most important moment in the development of the
personality’.
This recognition and valuing of a connection with something beyond the
ego in the psyche is in opposition to some contemporary therapy and coun-
selling approaches, such as cognitive behavioural therapy and behaviour
management strategies. Emotional release counsellors – and those with a
Jungian orientation – aim to reduce the need for ego dominance, which is so
often a defence mechanism against hurts, lacks and attacks. This reduction
of defensive ego dominance takes place through releasing unfinished busi-
ness from the recent and distant past so that the old defences have less to do.
Reducing defences can also support reconnection to basic transpersonal or
spiritual impulses. Because many clients begin to experience a spiritual or
numinous state during sessions, sandplay can be a valuable support in spiri-
tual development as well as personal healing.
The principles underlying the Jungian approach have many similarities to
the approach to self-discovery, self-development and therapy studied in
transpersonal psychology. Writers of the Jungian school assume that we have
an unconscious and propose that the personal, individual unconscious drives
outer behaviour and is a motivator for the apparently more conscious actions.
In addition, the individual unconscious is seen as connected to and strongly
influenced by the collective unconscious, a realm of the psyche in which we
are all linked. The collective unconscious is influenced by the archetypal
dimension, where basic human patterns are linked to cosmic forces.
Most importantly Jung’s psychology recognises that humans have what
we would call transpersonal needs. The field of transpersonal psychology has
moved far beyond the Freudian notion of the compensatory nature of
spiritual or religious impulses, or that they represent a sign of pathology. Our
own clinical observations show that the individual psyche is rarely content
with simple ego-consciousness. Jung described many sessions with clients
during which apparent neuroses vanished once their spiritual impulses were
recognised and given some framework.
Emotional and psychological safety

Central to Kalff’s model of sandplay therapy is the concept of the ‘free and
protected space’ which has both physical and psychological dimensions.
While recognising that it took many sessions, Kalff found that once this
sense of safety was established it allowed deep emotional healing. In some
counselling contexts today there is often an urgency, due to limited time or
budget requirements, to help clients feel comfortable and ready to disclose.
However, the sense of the ‘free and protected space’ may not have been fully
established and self-exploration can remain at a superficial level.
Sometimes there is an assumption that interpretation by the counsellor is
an important element in helping clients release what is troubling in the
unconscious. Bradway and McCoard (1997) refer to research at Mount Zion
Psychiatric Centre, in 1982, that investigated Freud’s early theory that ana-
lysts had to interpret repressed mental contents in order to make those con-
tents conscious. The research did not support this theory. Further they found
that when patients felt safe and trusted the therapist the material could flow.
Kalff writes with conviction about the need to develop this sense of
safety for real healing to occur. She suggests that sandplay provides the con-
ditions of ‘a womb-like incubatory period that makes possible the repair of
a damaged mother-image which, in turn, enables constellation and activation
of the Self’ (1980). She observes that this allows subsequent healing of the
wounded ego, and the ‘recovery of the inner child’. Kalff is here describing
the natural healing potential that a child-like freedom to play can support.
This child-like freedom can be seen in both adults and children who move
from timidity about using the symbols to deep and serious engagement that is
also playful. This freedom depends in part on the sense of safety established.
Kalff used the term ‘mother–child unity’ to describe the ideal atmosphere of
the counselling room and the ideal relationship with the therapist. She points
out how a child is born out of the protecting enclosure of the womb into the
world, and still requires the protection of the mother for a long period. The
care and love a mature parent can give the child implants a basic feeling of
security.
An atmosphere of security is necessary for the child to develop fully
according to its own potential. If bonding and security are absent then a child
may retreat to an inner world, and begin to build defences. Kalff claims that
behind these defences fear is hidden, which, when it becomes too great,
changes into aggression. If aggression is repressed it consumes so much inner
energy that ‘little remains for anything new in life’. It is the loving atmos-
phere of counsellor and counselling room that begins to allow an opening for
a client – child or adult – to come out from behind their defences.
Kalff describes the complexity and delicateness of the psyche and points out
that it is exposed to a wide variety of influences. The development of its
strength comes when the free, and yet protected, space is established. She
claims the psyche has an inherent tendency to heal itself, and it is the task of
the therapist to prepare the path for this tendency. Provided it is happening
within the free and protected space, symbolic active fantasising by the client
stimulates the imagination. Imagination is directly linked to the unconscious
and so its stimulation is a support in helping the unconscious make its contents
known. Weinrib says that the stimulation of the imagination supported by the
active fantasising ‘frees neurotically fixated energy and moves it into creative
channels, which in itself can be healing’.
The experience of a safe ‘shelter’ is created through a personal connection
between therapist and client, through the sense of order and beauty of the
workroom, and unconditional acceptance of the client’s degree of participa-
tion in the session. Often a child’s – and sometimes an adult’s – sand picture
will reflect a seeking of their need to feel sheltered, as well as reflecting a
need to work through feeling endangered.
The equipment used in sandplay supports feelings of safety. The physical
dimensions of a sandtray, which are limited and containing, give a sense of
boundaries that protect the sand world. The entire area can be seen at a
glance, without moving eyes or head. The tray has the effect of focusing on
and then reflecting back inner vision, thoughts, feelings and unfinished busi-
ness. Weinrib says that the figures serve to ‘incarnate archetypal images in a
manageable size and shape in a protective environment’.
Safety is also experienced when the client is given unconditional acceptance
and freedom from any imposition of the counsellor’s will. There is no con-
frontation, and no intellectualisation or interpretation. A premature demand
for rationalising in such a womb-like space can disturb, if not destroy, the
spontaneous healing process.
Safety is also provided through many subtle elements in the process.
Throughout Kalff’s writing there is an emphasis on meeting the clients
where they are and allowing time to develop a trusting connection. Her own
case stories point to the importance of following the client’s interests and
finding as many ways as possible to bring forward their creative expression.
Her methods include allowing the client to leave the workroom, explore the
garden, play games and explore various craft media and even ritualistic
destruction that allows emotional release.
In our practice today we try to allow the same freedoms. It can be
valuable to punctuate a session with a brief walk in the garden, a brief dip in
the swimming pool on a hot day, a few minutes to stroke the cat or even
time to chat about seemingly irrelevant topics brought up by the child. Being
with pets or animals will often allow a softening in a defended child.
Times of informality and ordinary play can greatly support the overall
sense of safety and freedom, thus adding depth to the work. Recently an
eleven-year-old boy, after his sandplay, asked if he could go for a swim. He
was surprised to learn that certainly that was okay. While he was swimming
in the informal, relaxed setting of the pool, he released information which
was both useful for the therapist and a relief for the young boy to talk about
at last. At this point playing in the pool sparked his enthusiasm to commu-
nicate – like an unstoppable current. During these apparent diversions
from the formal structure of the counselling session it is essential that the
counsellor maintain emotional and physical connection with the client and

be available for listening, encouraging and drawing out any expression that
is ready to emerge.
How can sandplay help clients?

‘Sand pictures represent figures and landscapes of the inner and outer world,
and they appear to mediate between these two worlds and connect them’
(Kalff, 1980). Cultures in the Western industrialised world appear to have
lost this natural connection, and the existence of an inner world has been
denied, ridiculed or de-constructed.
The patience and care that goes into creating a sand picture can help
reclaim or rediscover the inner world. These qualities help foster inner con-
nection and relatedness to the depths of the psyche. No special training is
needed for a client to create a sandplay; age and gender have no bearing
on the outcome; the process is not dependent – as in verbal therapy – on the
client’s capacity to accurately recall incidents and issues. The process
involves a kind of concrete active imagination that leads to inner trans-
formation and new creativity in outer expression.
The effect of transformation within the psyche is much wider than sim-
ply a modification of behaviour considered to be inappropriate. Generally
speaking, there is one aspect of ourselves that is more strongly developed
than other aspects. A healthy psyche and therefore emotional well-being are
the outcomes when the inner world is allowed to complement and augment
ordinary everyday consciousness.
Weinrib suggests that transformation includes significant changes in a
person: how they perceive their attitudes, their value systems, their behav-
iour, their self-image and their perception of the inner and outer worlds. A
person who has begun transformation has increased their relationship with
themselves, with others, with society and with the transpersonal dimension
of their psyche. Transformation is often accompanied with a feeling of
rebirth. In trying to clarify what a range of therapists mean by psychological
transformation we conclude that it contains highly individual elements,
some general patterns and much mystery. The fact that it has taken place is
evident from a client’s state of well-being, clarity, energy and purpose.
Sandplay and symbol work provide a bridge between a person’s inner and
outer world. One of the greatest contributions sandplay and symbol work
can bring to contemporary counselling and psychotherapy is the means for
sacrificing the dominance of the cognitive, intellectual power which alone
cannot engineer emotional or spiritual healing, let alone build a sense of
wholeness in the client’s personality. Throughout the ages, myths, legends,
parables and fairy tales have repeated this theme of surrender of the domi-
nant ego so that reconciliation, union and well-being can emerge.
The landscape formation in a tray of sand, the choice of figurines, the story
or the arrangement of the picture can become for the client part of their

personal mythology. The images have meaning – even if this meaning is not
immediately obvious to the rational mind. The images may continue to reveal
meaning, providing insight, a sense of order, and a structured means of
dealing with some of the conflicts of the inner world. Clients have reported
carrying the image of the sandplay and symbols in their head for some time,
even making imaginary new pictures which might emerge in future sessions.
The act of making a story or picture, or identifying a story that links
chosen symbols, is in itself a creative act. Working in the sandtray gives a
space for the exploration, design and creation of images that correspond
with the inner world. But the sandtray, by its very nature, also means that
the creation can be altered and reshaped during the process, and that outer
transformation becomes an inner experience. The involvement of body,
mind and feelings transforms the inner experience into an outer reality.
Many clients report that this process enhances their creativity. This sense
of approaching life more creatively improves self-confidence and self-esteem.
Weinrib suggests that the mere act of creation in itself provides a good deal
of satisfaction and release of tension. Growth in self-esteem is evident in
clients after this creative process, which has involved the body, mind and feel-
ings. This therapeutic expression is quite different from the disruptive or
destructive acting out that has been the cause of entry into counselling. The
client rehearses, with each sandplay, new possibilities relating to something
outside themselves.
For some, the sandtray (or the large circle drawn in the artpad for symbol
work) becomes the focus of attention in a way that encourages centring, com-
ing into a quieter more focused state, just as a candle or particular spiritual or
religious image might be used in meditation or prayer. It is also similar to the
way an altar has been the focus of attention in sacred rituals throughout time.
The delineated space of the sandtray keeps out distractions. In a similar
way intricate mandalas have been used in several Eastern traditions as an aid
to concentration and contemplation. The sense of centring may seem to be
entirely absent in new clients whose sandplays may more closely resemble
a war zone than a sacred space. However, as issues are worked through and
as trust in the facilitator develops, the client finds feelings of both calm and
excitement, as if the burdens of their inner life have been lifted. This pro-
gression towards centredness is frequently reflected in a series of sandplay
pictures which typically develop from chaos to order and sometimes from
order to expressions of the sacred. This focusing effect offers the client the
opportunity to open to the transpersonal level of the psyche. The need for
accessing the spiritual dimension was extensively explored by Jung and is
more and more evident in counselling work today.
Kalff constantly emphasises the need for the psyche to have experiences
of centring, to come into balance. As the healing process takes place over a
number of sandplays, circular forms, shapes or arrangements of symbols are
more often seen. Kalff found that there was frequently a significant symbol
at the centre. This may initially appear as a creation of a protected space in
the sand, and evolve to be an expression of a centred emotional state or even

an expression of the Self.
Kalff suggests that this centring experience may have a numinous quality.
This energetic and emotional transformation depends on the client’s deep
trust and sense of safety with the therapist.
Weinrib says that ‘some inarticulate patients turn to the sandtray with
relief since self-expression through language is so fraught with anxiety for
them’. Many clients may not speak at all for extended periods during their
sandplay. Others are stimulated and gain release through a steady stream of
verbal expression that supports energy release and psychological relief.
The value of play

In addition to the concrete, three-dimensional aspects of sandplay and symbol
work there is the therapeutic experience of playing. Weinrib explains: ‘Sand-
play is not a game of rules. It is free and encourages playfulness. Its value lies
in its experiential non-cerebral character’.
Developmental psychologists have analysed the extreme importance of
play in the development of a child’s personality and ability to relate to the
world. Play therapists, sandplay therapists, emotional release counsellors and
facilitators of many other counselling forms see daily with their clients that
supported play in the counselling context can also facilitate deep emotional
healing. In fact, for many clients the very act of recovering the ability to play
can provide them with the tools they need for an autonomous processing of
their conflicts.
In sandplay, the adult plays as does a child, with seriousness. Weinrib says
that the ‘playing aspect seems to provide access or an initiatory rite of entry for
adults into feeling, affect and the world of childhood. Lost memories are found
again, repressed fantasies are released and possibilities for reconciliation occur’.
Sandplay helps overcome conscious and unconscious defences through the
fact that the first activity most closely resembles play. This can be a relief
from the challenge of dredging up memories, personal details or data that
may be required by traditional therapeutic methods such as verbal therapy. In
beginning with play and allowing the unconscious contents to be projected
onto the symbols, the focus is removed from immediate behaviour problems,
emotional dysfunction and physical symptoms. This quickly opens the door-
way to release the underlying causes of problems without reinforcing any
notion of the client’s state as proof of having – or being – a problem.
Occasionally a client who has developed strong cognitive control may at
first resist sandplay as either too threatening or too childish. Naturally this
resistance is respected. A client is always met where they are and in ERC a
range of alternative supportive modalities can be offered, such as drawing,
body focus, storytelling, or movement work. Offering choice and respecting
the individual’s inner guidance also has an empowering effect that supports
the client in feeling some control.
Some clients may begin the process with diffidence, scepticism, conde-
scension, embarrassment or resistance. Soon some play emerges which may
be conducted in a ritualistic atmosphere. The client becomes absorbed in the
activity and works with great concentration. The ritual aspect is evident in
sandplay with clear geometric arrangements in the sand or with the figurines.
Circles marked in the sand, or as islands, mountains or lakes, often appear.
Sometimes the client’s energy and movements while creating the sand picture
and selecting the figurines reveal a sense of ritual.
Dealing with aggression

Sandplay encourages a creative regression that enables healing. There can
be a great relief in not having to come up with answers, not having to be
rational or sophisticated, being allowed to have exaggerated feelings and hav-
ing the ‘process’ of heightened reactions accepted and dealt with respectfully.
Frustration, anger, aggression, jealousy and revenge are all frequently
released using symbols in the sandtray. Sometimes this is accomplished by
squashing down the sand formation, burying symbols, upending symbols or
removing symbols. Traditionally the movement is contained within the
sandtray. However, in ERC we extend this safe and protected space with
cushions to provide release for large motor movements such as jumping,
hitting, kicking and tumbling followed by relaxation.
Discharge of destructive impulses allows a new, relaxed mood and fre-
quently leads to clearer more fluent verbal communication, creative
problem-solving and a positive commitment from the client to their own
therapeutic process. Allan and Berry (1987) refer to the value of clients
releasing repressed energy. In Virginia Axline’s account of her work with
Dibs (1971) the expression of the boy’s hostility to his father – when the
father doll is upturned and buried in the sand – seems to be a major turning
point in the therapy.
Weinrib (1983) writes that the free and protected space of sandplay ‘pro-
vides a safe and sealed container where unredeemed demonic energies can
be transformed by enabling the expression and playing out of repressed
aggressive needs’. Sandplay offers the possibility of acting out an inner
impulse in a safe way. The sandplay is contained in clearly stated space and
time boundaries. It provides the dual benefits of containing the process and
allowing movement forward.
Frederick Perls (1969) says ‘the way out is through’. Generally, we see that
clients will more readily go through their issues, conflicts and unfinished
business, moving gradually into the depths of their personality, then open
to the transpersonal. After this progression they typically emerge with a
stronger and clearer engagement with the here and now. Many will come up
with new strategies for more effective living and even report that some of
their difficult behaviours seem to have dropped away as a result of journey-
ing into their psyche.
So, while the facilitator is not focusing on problems in the session, the
symptoms, the difficult behaviours gradually disappear once the underlying
causes have been safely addressed. In the case of Dibs (Axline, 1971), he made
his first verbal communication with his father after the doll-burying session.
Parents regularly report that they have observed, or the child’s teacher has
observed, significant positive changes in behaviour after a few sandplay ses-
sions. In many cases we have observed a change in the sandplay, a movement
from chaos and battles towards happier ordered scenes, indicating the reduc-
tion of emotional turmoil that has been responsible for aggressive behaviour.
The role of the therapist

In general, the role of the therapist using sandplay is to listen, observe and
participate empathically. Weinrib (1983) states clearly that the success of
therapy depends on the therapist’s familiarity with the developmental stages
in the process reflected in the sand pictures. These stages include:
1 at least partial resolution of key complexes
2 a sense of the depths within – referred to as the ‘Self’ – and the special
energy connected with these depths
3 the balancing emergence or recognition of the anima or animus (Jung’s
terms for what he saw as the contrasexual balancing forces within the
psyche)
4 a new ego attitude to the transpersonal and to daily life (Kalff calls this the
emergence of the ‘relativised ego’ capable of relating productively to both
the inner and outer worlds).
Weinrib recommends that a collective interpretation of a series of sand
pictures be left until a solid sense of self emerges and a renewed ego, in
relationship to the inner world, emerges. This way there is less chance of the
client being unduly influenced by the therapist and also less need for any
defensive rejection of new insights. We have found that intruding rational
interpretations – whether correct, or projections by the therapist – divorces
the client from the healing connection with their inner material. Ultimately,
the greatest benefit is derived by the client from their own experience in the
sandtray rather than the counsellor’s intellectual understanding and feedback
of what they think happened.
An effective therapist using sandplay should:
• have undertaken deep personal psychological transformation and healing
through experiential work
• have had adequate clinical training, including familiarity with symbolism
• have had many meaningful personal experiences as a sandplay client
• be familiar with the stages of development as they appear in the sand-
play process
• have studied and compared many sand pictures
• have a capacity for acceptance of the client
• respect the individual nature of the process
• not intrude their own agenda during the process

• have adequate knowledge of the principles of ERC and transpersonal
psychology
• respect clients whose sexual, cultural, religious or social orientation
differs from those of the therapist.
The therapist must have the ability to empathically participate in the
client’s act of creation and in so doing develop a deep, wordless rapport. This
silent accompaniment can help repair the feeling of isolation from which
many clients suffer. The ability to be very present, without intruding, main-
taining a reassuring interest, is linked with an attitude of discovery or study
of the psyche, rather than an attitude of expecting preset outcomes and
directing the process to achieve these set goals.
The therapist must be able to help create a supportive atmosphere for
sandplay as it can take on a kind of ritualistic aura. The sandtray can be seen
as sacred ground where a physical symbolic ritual enactment takes place.
This may be reminiscent of the ceremonies and atmosphere of some tradi-
tional tribes and the early mystery religions.
Stages in the sandplay process

Several writers have attempted to delineate stages in the sandplay process:
Kalff (1980), Weinrib (1983), Allan and Berry (1987) and Bradway and
McCoard (1997). They seem to agree that there is no strictly defined order
or distinct linear trajectory to the process. Weinrib describes it as being more
like a spiral with ‘various elements of the personality appearing in symbolic
form at different levels of development’.
Generally sandplay is experienced with a sense of suspended analysis
and gradually emerging cognitive understanding. Most typically cognition
catches up with behavioural and emotional changes rather than preceding
them. This seems to allow emotional and psychological healing rather than
simply gaining insights.
The motivation and goals of clients can vary greatly and this will impact
on the stages of the process and the depth of the process. Some clients ask
for sandplay and symbol work only in times of crisis. Some begin that way
and then develop a taste for more ongoing healing work. Some have limited
goals and limited time and may come with a particular problem to solve.
Many clients feel clear benefit even after one or two sessions with the sym-
bols and there are many reports of children exhibiting major behavioural
changes after only one session.
However, some of the extraordinary cures and emotional healings that we
see with clients – similar to those reported by Kalff (1980) – occur when a
client works regularly over a period of time. There is no theoretical defini-
tion of what completion means in terms of the inner process. Completion
can relate to one specific issue, general positive adjustment to the world, or
a long-term healing and growth goal. It is not the number of sandplays or

symbol work sessions that is significant, but the sense of completion with an
issue which both client and counsellor come to recognise.
Offering weekly sessions, Kalff considered that it took some weeks for
unconscious issues to appear and be worked out in outer life. She says: ‘From
my past observations, I know that at least 6–8 weeks are needed before a
situation that is just becoming visible as it emerges from the unconscious,
can push through into the outer life. It is as delicate as a newly sprouting
blade of grass that needs attentive care’.
According to Weinrib’s (1983) overview there are eight main stages in
the traditional sandplay process with adults. These stages may often merge
and overlap.
1 The first sand pictures are usually realistic scenes and may give
indications of the problems and their possible resolution.
2 The pictures often show that the client has dived into deeper levels of
the personality, particularly into the shadow and personal unconscious.
These pictures may have a chaotic quality and express ‘untapped raw
energies’.
3 As the process moves on there emerge varying degrees of resolution of
problems. This seems to release energy which allows deeper work on
the psyche. This can lead into the fourth stage where sometimes the Self
– or the totality of one’s self – can be sensed and touched.
4 This stage appears with images of centring or unions of opposites with
religious or spiritual symbols and mandalas. At this point the client may
have experienced a sense of the sacred. Patients report a sense of having
touched ‘home’.
5 After this connection with the larger Self there is evidence of the trans-
formed ego in the sand pictures. The client may choose a single figure
of the same gender with which they now consciously identify and this
may appear regularly in the ongoing process. Sandplay pictures now
appear more creative and better organised. Whereas in the early stages
the client unconsciously projected onto the figures, at this stage there is
more energy, awareness and assurance around the meanings. The figures
are more clearly metaphors for aspects of the self.
6 Figures or symbols of the opposite sex begin to appear regularly and
in an orderly fashion, indicating connection with what Jung called the
animus/anima. This has a balancing effect. At this stage, clients tend to
more actively seek constructive outlets in life for their renewed energy.
7 As the process draws to a close, spiritual figures or abstract religious
symbols may reappear or appear for the first time.
8 For some, a final stage of the process will be a session of review –
frequently accompanied by photographs and drawings from previous ses-
sions. This gives a client time to allow the threads of insight and the terrain
that the psyche covered to come together with new meaning and fresh
impact, although the images and sand scenes may continue working in the

client’s psyche for many years. Bradway and McCoard (1997) suggest that
this review could be offered years after the end of a sandplay series.
Weinrib points out that at the eighth stage the conscious ego, having expe-
rienced something greater than itself, gives up some of its autonomy and
paradoxically at the same time experiences itself as stronger. A client may
have a sense of being supported now by something deeper or stronger – the
transpersonal dimension of the psyche – and may have a new sense of worth.
Allan and Berry (1987) summarise the common stages they have observed
in children’s work, commenting that these stages appear in cycles:
• chaos – many figurines dumped into sandtray, no apparent order, vast
upheavals and mingling of sand and figurines
• struggle – battles between monsters, robot men, armies, knights,
‘anything that moves is shot!’, often no winner
• resolution – order is being restored, there is more balance. Animals are
in their correct habitat, fences are in place, roadways are ordered, crops
and trees bear fruit.
In contemporary sandplay with children over three or four sessions we

recognise a sense of progression, if not distinct stages. This is expanded in
Chapter 3 (page 51).
After the sandplay

After the sandplay is finished Weinrib suggests that the therapist may:
• ask the client to tell the story of the picture
• ask relevant questions
• elicit the client’s comments and associations about the picture
• speak of matters suggested by the client.
Working from a Jungian perspective these comments, in the light of
Jungian symbology, may be used to evaluate the picture. Sometimes arche-
typal amplifications – that are evident to the therapist – have been offered.
Amplification is used primarily with adult clients and is simply a way of
sharing with the client helpful information that may enable the client to
investigate further traditional meanings of their symbols. The therapist,
while not imposing their analysis, may suggest aspects of the sandplay that
the client could reflect on and possibly research further. However, emo-
tional release counsellors, when using sandplay and symbol work, use their
private analysis as a basis for creating questions that might support further
self-discovery by the client.
Sandplay therapists whose training includes Jungian analysis and who use
sandplay in the model of Dora Kalff used to take photographic slides of com-
pleted sandplays and these were shown weeks – sometimes years – after a
period of work seemed complete. Reviewing the sandplays with slides is
valuable for clarifying and formulating the experience of the unconscious.
The slide show reinforces change and understanding.
The ERC approach differs in that a Polaroid photo is taken of the com-
pleted sandtray which the client keeps as a record of the process. The events
that took place and the outcomes are ‘at work’ in the psyche without the
person having to do anything. Review then takes place after several sessions
– usually after about six or eight sessions.
Reviewing the concrete expression of the client’s inner journey is often
very supportive. During the review connections between the images in the
sandtray and what is happening in both the inner and outer life can be made.
Sometimes the counsellor can support the client to make these connections.
Often new insights emerge during this review time. Weinrib considered the
slide show a valuable tool in supporting ego strength.
The contribution of play therapy

Virginia Axline (1971) describes the use of toys in a large sandtray as part of
her therapeutic work. This inspiring classic shows the way work with sym-
bols and sand can be integrated into another compatible method of therapy.
The attitude of the therapist and the interactions detailed in Dibs provide
support for the way a sandplay therapist could behave. Axline explains that
her method of interacting scrupulously avoids suggesting any desire for a
particular behaviour in the client. She says she tries to ‘communicate under-
standingly and simply, recognition in line with his (client’s) frame of refer-
ence. I wanted him to lead the way. I would follow’.
In her work with Dibs, Axline felt it was important not to offer any
behaviours or physical mannerisms which could be construed, by her client,
as implying a judgement on her part of good or bad, right or wrong. Clearly
she felt that to imply anything which could be interpreted by the client as a
way to proceed would put the counselling process at risk of going off track
and actually missing something important for the client. Without using ERC
terminology, she was endeavouring to allow the inner healer to direct the
play therapy.
This client-centred approach fits well with sandplay. An aspect of the ‘free
and protected space’ is freedom from suggestion by the therapist and freedom
from the need to comply.
Axline sums up a way of being with her difficult client that strongly
mirrors a way of being for which a sandplay therapist would aim:
If I could get across to Dibs my confidence in him as a person who had good reasons
for everything he did, and if I could convey the concept that there were no hidden
answers for him to guess, no concealed standards of behaviour or expression that were
not openly stated, no pressure for him to read my mind and come up with a solution
that I had already decided upon, no rush to do everything today – then, perhaps, Dibs
would catch more and more of a feeling of security and of the rightness of his own reac-
tions so he could clarify, understand, and accept them.
This way of being echoes Carl Rogers’ person-centred approach. It assumes
basic goodness, intelligence and trust in an inner healing mechanism. Axline
gave her client the space, freedom and emotional support to play out his
troubles. It took a long time, but when he felt there was no need of defence he
stopped defending and allowed the damned-up emotions to flow out and then
moved into a happy state.
A study of Axline’s mirroring technique in communication with this client
provides a good basis for learning how to keep the channels of communica-
tion open with a sandplay client.
Some behaviour management programs conducted in Australian schools
aim to teach social responsibility and respect for the rights of others. It is
often assumed that this can be learned via the intellect alone. Axline’s
approach in her play therapy is to deal with intrapersonal experiences, espe-
cially emotions, and trust that this will flow out in improved interpersonal
connections. She says: ‘The child must first learn self-respect and a sense of
dignity that grows out of his increasing self-understanding, before he can
learn to respect the personalities and rights and differences of others’.
Sandplay and symbol work allow in-depth exploration and recognition of
the intrapersonal domain. The ‘way of being’ of the therapist supports the
development of a sense of dignity in the client – who often is brought to the
sessions under the label of having a severe problem, or being problematic in
the school, social or home setting.
In commenting on the growth of her young client, Virginia Axline says of
Dibs: ‘I hoped that he would find experiences in the playroom that would help
him know and feel the emotions within him in such a way that any hatred and
fear he might have within him would be brought out in the open and
diminished’. She echoes the hopes of many emotional release counsellors. The
Dibs case study describes how the young client has ‘poured out his hurt,
bruised feelings, and had emerged with feelings of strength and security’. In
sandplay we often see this process unfold before our eyes in the sandtray,
often without the need for many words.
Sandplay and transpersonal psychology

Transpersonal psychology, with its roots in humanistic psychology, has
developed a strongly client-centred approach with emphasis on supporting
positive aspects of a client to emerge. It acknowledges that the human need
and search for higher meaning is a sign of health, rather than the compen-
satory or pathological symptom assumed in early Freudian theory.
In transpersonal psychology the hunger for meaning, for something more
than the usual level of consciousness, is seen as normal and natural and part
of the journey of life. In many traditional cultures this search is widely
accepted as healthy and a foundation for lifestyle orientation.
Transpersonal psychology recognises that part of our task in life is to deal
with emotional healing, expand our awareness through self-discovery and
investigate a spiritual path. The discovering of a spiritual identity is seen as
healthy, and open to exploration in a balanced and earthed way. There is
recognition of the developmental stages in what Ken Wilber (1980) refers to

as the outward and the inward arc – the journey from subconsciousness to
self-consciousness, and from there to superconsciousness. Most child clients
are participating in the outward arc of their psyche, in an attempt to reach out
to the outer world, know the world and find their place in it. The inward arc
is of interest to many adolescents and adults who develop an interest in deep-
ening contact with their inner world and discovering their spiritual identity.
Some adolescent clients are ready to begin the inward arc, to turn within,
to know more about their inner world and to explore levels of consciousness.
The lack of support for adolescents in our culture to begin the inward jour-
ney accounts for some of the suffering they report in counselling sessions.
They respond well to a counsellor who is familiar with transpersonal con-
cepts and who can accept and support their interest in spiritual enquiry.
Jung guided his patients to look within to the Self, the totality of what
they could become. He supported them in exploring their deeper wisdom,
which transcended the demands of their ego. Jung considered that symbols
were the language of the unconscious, and that a deeper level of the psyche
could often only communicate important messages via symbols. Symbolic
language, whether in dreams, fantasies or sandplay work, allowed messages
which might be too powerful or too painful to face, to be acknowledged and
integrated over time.
Some of those involved in the transpersonal movement have researched
and developed Jung’s observations on the psyche’s in-built drive towards
healing and wholeness. Grof (1988, 2000) calls this mechanism the ‘inner
healer’, and recommends time spent in non-ordinary states of consciousness
as the most effective way of allowing this mechanism to do its work. Several
of the Jungian writers on sandplay refer to this healing force in the psyche
and agree that it needs supportive conditions, especially the ‘free and pro-
tected space’ – the ‘temenos’.
To sit back, wait and support this force to manifest may require a para-
digm shift from traditional training in Freudian, behaviourist or cognitive
approaches where significant direction may be given by the counsellor. The
art of being able to allow the psyche time and emotional space to express
and grow brings more sustainable well-being than attempting to direct the
process from the ego.
Through our own inner exploration with sandplay and symbol work,
through clinical observations, and through work with many hundreds of
trainees, we have seen the extent of the innate logic of this inner healing
mechanism. As we work with a client our minds may be attempting to
understand the inner guiding force in the client’s sandplay so we can work
in harmony with it. The harmony and trust that develop with the client as
we follow the process of inner healing enhances their feeling of being
supported and trusting their inner self.
From the theory of transpersonal psychology behaviour is seen as a symp-
tom of forces within us. Difficult or neurotic behaviour is seen as a sign that
healing is trying to happen, not necessarily as a sign of ill health. When a safe
and protected space is provided by the counsellor this healing can occur
more effectively and directly, making attempts at release through difficult
behaviour no longer necessary.
Psychology that deals primarily with the ego may ignore the notion of
hierarchy in the psyche. In our culture the ego has often been regarded as the
leader, the supreme director of our personality. Transpersonal psychology
and the framework which Jung developed acknowledge various levels,
stages and parts of our psyche, that should ideally work in balance.
A predominance of the ego as the director of our life may restrict our
development. Deeper and more subtle parts of ourselves may not have a
chance to develop and contribute to our life. While it may be true that many
of us need to strengthen the ego, there is also a stage in inner growth at
which the ego is ready to surrender its controls and find support from
deeper forces within. This is where a counsellor with transpersonal training
can accept and nurture the newly emerging spiritual questioning of a client.
Modern consciousness research has explored the impact of perinatal
experience in setting up a pattern for how we deal with life. Researchers
such as Grof, Janov, Verney and Leboyer have begun to detail the impact on
our psyche of the womb time and the birth experience. While it would be
unusual for sandplay to open experiences in the psyche relating to the
perinatal domain, it can happen, and perinatal themes do emerge in sandplay
and symbol work. Understanding and training in recognising these expres-
sions and supporting clients who may be in an ongoing process of healing
and resolving these areas of the psyche is extremely valuable for counsellors.

Chapter 3
Sandplay and symbol
work methods
In sandplay, the adult plays as does a child, with seriousness. The playing aspect seems to provide
access or an initiatory rite of entry for adults into feeling, affect and the world of childhood. Lost
memories are found again, repressed fantasies are released and possibilities for reconciliation occur.
Estelle Weinrib, Images of the Self, Sigo, 1983
n this chapter we introduce concepts important to the application of the
I sandplay and symbol work methods. The basic elements of the sandplay
process are discussed, with an emphasis on the support the counsellor’s
attitude and workspace can provide. The client-centred approach of trusting
the inner healing mechanisms of the client is described, with both the free
play and directed sandplay methods outlined. The use of sandplay with
families and groups is introduced along with some practical stages observed
with counselling clients.
Elements of the process

There are seven main elements involved in the traditional sandplay process:
• the sand itself, contained in the sandtray
• the symbols, arranged along the shelves
• water, often used to help shape the sand and add another tactile
sensation to the process
• the client’s personal mythology, imagery and unconscious – the driving
force behind sand pictures and stories
• the client’s hands: their sensitivity, their movement – building, shaping
and breaking down sand formations – offer many possibilities for self-
awareness and expression beyond verbal exchange
• the facilitator, whose main role is to observe and at times participate
with empathy – the client can bounce ideas off the facilitator and
through sharing the inner world gain deeper access to it
• a calm, supportive environment in the counselling room, which is like a
protective womb encouraging motivation and supporting the opening
and resolution of inner tensions.
The sand, symbols, tray and water become a malleable tool that takes on
the contours of the psyche as it is constellated at the time. Sandplay integrates
body, feelings and mind. Through the sand picture the client releases old feel-
ings, concepts and memories, and embodies new insights. Sandplay is used to
41
resolve personal problems, reclaim forgotten qualities, open up to inner guid-

ance and direction, expand self-knowledge and explore personal mythology.
The play aspect is vital – this method brings up less resistance than more
confronting processes. The look, the texture and the smell of the sand can
bring a link in the memory to times spent at the beach. The feel of the sand
is likely to elicit pleasant childhood memories. There is a link to the ocean –
which is so often a symbol for the unconscious – and carefree times. For a
few clients the sand can evoke a yearning for these experiences.
Using their hands, the client shapes the sand. Energy begins to release
through the movement. Fingers flowing through dry sand leave ripples. Wet
sand is shaped into hills and valleys. For the client, being connected to the
sensations of their hands means becoming more aware of their bodies.
Touching the sand may evoke emotions about touch. A client who is tactile
defensive may, at first, find the sandless symbol work more agreeable.
Involving the body allows the analysing mind and its diverting tactics to be
left behind. Connection is rapidly made through the kinesthetic and visual
senses rather than the organising of the intellect. This inner connection
allows more material from the unconscious to be safely revealed.
The qualities of the sand are managed and manipulated by the client. The
sand can be dry, soft, or made wet and clinging together. Two sandtrays may
be available as contrasting mediums – one with dry sand, one with wet sand.
The transformation of sand from solid matter to malleability can mirror the
process for the client. As stories unfold the client’s inner transformation is
represented visually. The past recedes, leaving space for a hopeful future.
Dry sand can be blown, creating delicate formations or shaped into gentle,
rounded formations. When water is added the sand turns darker and begins
to take on the quality of earth. It becomes firm and can be easily formed or
shaped. It can represent dark, mysterious depths of the shadow side, the
volcanic eruptions of conflict or the higher levels of experience. It provides a
terrain on which the whole psyche can portray all its colours, with both
shade and light.
The sandtray presents a safe place to explore issues that the unconscious
is ready to release. Within the boundaries of the sandtray the client makes a
visual representation of the inner world. The sandtray becomes a sacred
space, with a special representation of inner reality, at a safe distance from
the everyday world and everyday concerns.
To support this, the sandtray and the symbols are not treated as everyday
toys, but as objects dedicated to exploration of the inner world. In this way
the sandplay experience is not the same as spontaneous play times. The
sandplay equipment is set up specifically for counselling and self-discovery.
For children this makes it different from the sandpit at school, the bath at
home, or the toy box under the bed. All these can provide space for the
unconscious to naturally work out some of its issues, but the dedication of
the sandplay to inner exploration gives the unconscious security, permission
and encouragement to open up. It also allows the cognitive processes an
opportunity to function more clearly, make new connections and formulate

new strategies.
What has been unknown, out of sight or perplexing becomes clarified as
the symbols are arranged. Through the symbols a client explores many
aspects of the psyche, and even touches deep into their essence. What was
intangible inside can be externalised, brought to consciousness, made clear
and explored. Ryce-Menuhin (1992) writes that sandplay gives a non-verbal
image within the therapeutic setting, the meaning of which may not at first
be clear or fully understood by either the therapist or the client. As the client
relates the meanings or the story of the sand picture the client feels a sense
of freedom and has the opportunity to understand what is happening in their
life in terms of the symbols and the sand picture.
The search for wholeness and metaphysical understanding has always
drawn on society’s myths. Myths link us to the basic patterns of the psyche,
the archetypes and the collective unconscious. This creates a link-up bet-
ween personal healing and the collective unconscious. A transformation, a
healing, takes place, and this is freed to manifest at a later time in another
sandplay and in life. Sandplay allows us, and the people we work with, to
discover and develop personal myths. What has been abstract becomes more
concrete. What has seemed like random events takes on the shape of a story
or journey.
The client’s unconscious, when supported with an attitude of respectfulness,
freedom and self-direction, presents what is ready to be dealt with. The coun-
sellor’s conclusions or interpretations are not expressed. The self-actualising,
self-regulatory principle of the client-centred approach is at work here.
The counsellor becomes a co-traveller on this journey; one who supports
the client’s wish to explore. Ideally, the counsellor is aware of their own per-
sonal need for inner work, for ongoing clearing and journeying, in order to
avoid projection onto the client. Regarding inner work as an exciting journey
develops a stronger foundation for growth than a focus on simply managing
problems, although in all forms of counselling there is a stage of problem
orientation. For depth of understanding of this aspect the counsellor’s own
inner journey through sandplay training is an essential prerequisite.
As has been said, interpretation is not part of this method. The vital role
of the counsellor is to support the emergence of meaning from within the
client. The effectiveness of the sandplay does not depend on the counsellor’s
or the client’s intellectual understanding of the process, although many clear
insights will be evident.
At the end of the session the counsellor invites the client to do a drawing
depicting their emotional state or write down their insights and share what
they have learned. This might be a time to draw out any particular implica-
tions for the client’s current life.
In working closely and empathically with clients the counsellor will want
to create an attractive and supportive healing environment. This will be a
space which supports the client to feel at home, safe, attended to and special.
The work room is colourful and exciting, although orderly. The symbols on
the shelves are presented so that they can be clearly seen and grouped in
themes. Water is made available, either in a sprayer to lightly wet the sand, or
in a jug to enable mixing and the forming of rivers, lakes coastlines or moun-
tainous terrain. For further discussion on sandplay equipment see page 88.
Some uses of sandplay

New language
Symbols support the development of an extended vocabulary to help expres-
sion of inner feelings, hopes, divisions and urges. Acquisition of inner world
language helps the client express, unload, share and gain relief through the
interpersonal nature of counselling sessions.
Resolution of a specific crisis

Some clients feel immediate benefit from one or two sessions in which they
explore the dimensions of the most immediate life issue, feel relief and begin
to deal with that aspect more constructively.
Surfacing of an old wound

Some clients may be dealing with the activation of an old hurt, triggered by
a change in life or an emotional shock.
Shadow release
Many of us have been brought up to behave well and hide any negative feel-
ings or destructive urges. Sandplay can be used for acting out what is not
acceptable in real life. We can construct in the tray scenarios, actions and out-
comes that we would not generate in our daily lives, but which can be fan-
tasised. The containment of these actions may be causing some stress. Safe
space for portraying what is inside allows for integration of disowned
aspects and energies.
Self-image
Both sandplay and symbol work allow the collection of information about
unconscious self-images. Exploration of causes of an underdeveloped sense
of self is possible, as well as the gaining of a new viewpoint on self.
Personal mythology
A client can gain language and images that help them describe their inner and
outer world. Resonant symbols are often introduced into new sand pictures
and may appear throughout a series of sessions. These symbols become the
client’s personal mythology. Often symbolic of newly discovered energies or
qualities of character, these symbols form personal stories or myths which
inevitably support connection to the client’s innate world of hope.

An alternative to self-revelation
For a variety of reasons some clients feel threatened by the counselling
process. Some clients may take several sessions to relax and trust a counsel-
lor. They may be wary of self-disclosure. Any requirement to verbalise their
deepest concerns will activate resistance. However, using sandplay these
clients can begin their healing process simply by playing!
Support for feeling and intuition

All of us have preferred modes of operating at different times in our lives. In
some cases the tendency of Western society to communicate predominantly
through verbal/cognitive processes leaves a client enmeshed in a world of
thought. The development of emotional, kinesthetic and intuitive modes
of experience may not have been fully developed. For those who are used
to operating on a thinking level, sandplay supports a breakthrough to the
intuitive and feeling levels.
Trusting the inner healer

‘Inner healer’ is the shorthand name Grof (2000) has given to our in-built
psychological healing mechanisms. From his lifetime of psychiatric and
psychological research Grof concludes that, given appropriate support and
the means for release through surrender of ego control, we have an inner
radar that knows what issues, in what order and what timing is required for
the healing of our psyche.
In sandplay and symbol work we have found that supporting a client in a
quiet focus, with direction to increase the connection to their inner world,
enables the client to surrender to deeper states of consciousness. This state
empowers the inner healer. Grof writes that to ‘support the experiential pro-
cess with full trust in its healing nature, without trying to direct it or change it
in any way’ allows the ‘radar function’ of the inner healing mechanism.
This concept of the ‘inner healer’, in association with all the dimensions
of emotional and spiritual healing, is very much in line with concepts put
forward by Dora Kalff, Virginia Axline and several of the Jungian-oriented
sandplay writers (see bibliography).
The training of sandplay facilitators emphasises the importance of allow-
ing this inner wisdom to emerge. Learning to trust the way each psyche
presents its healing can occur only through direct personal experience and
careful observation of clients over several sessions.
Trusting the inner healer requires a paradigm shift for counsellors and
therapists who may have been trained in approaches that presume it is the
counsellor’s role to determine both the issues to confront and the most direct
route to psychological health. Developing and nurturing trust in the inner
healing process allows greater objectivity on the part of the counsellor. The
order and timing of the issues to be dealt with remains aligned to the client’s

process. Counsellor and client present a team approach as co-journeyers. The

confrontational aspect is superseded by the empathic presence which allows
the natural unfolding of their process.
The free sandplay method

In learning to facilitate sandplay the most important skill is to reclaim an
ability to play. The ability to play and support play is vital for developing
trust in the value of play for the client. Through play – which can become
quite serious in sandplay sessions – the imagination can express its contents.
Imagination is linked to the personal unconscious and its way of expression
is guided by the inner healing mechanism of the psyche.
This organising principle selects what is necessary for healing and growth
within the client. It determines which story or picture needs to be expressed
at any particular time. Through the extensive experiential training needed to
become a facilitator we learn to respect this inner wisdom in the client.
To play is to suspend rules, to suspend the ‘shoulds’ and ‘oughts’, to let go of
analysis and the requirements of logic. For adults it may include taking the risk
that the story will work itself out without being preplanned. To play is to agree
to let the story emerge from our unconscious without interference. Of course,
becoming conscious of defensive rational interference will also be part of our
healing process. In developing her World Technique, Margaret Lowenfeld
(1999) felt that unless the need to play had been adequately accommodated in
childhood, then the adult was driven by those same urges, which then pro-
jected themselves into the person’s adult life and masqueraded as reality.
In playing, children surrender to the forces within them. Their play can be
active or passive, reactive or responsive. Young children at play in the school
playground often demonstrate a high degree of seriousness and focused
attention when they are interested.
When we let ourselves surrender from strictly rational plans and simply
play, we cross the threshold from the adult, fixed world, to the childlike,
fluid world of feelings, images and energies. This is a world in which the
inner self can express itself through the stories we create in the sand and
with the figurines. The experience of crossing this threshold, many times,
prepares us to be relaxed and open sandplay facilitators. This, then, will cre-
ate the best environment for clients to make their own healing journeys.
Overview of the process

Before the sandplay
• Trust and connection between the client and the counsellor are built
through meeting, and the counsellor listening. The process is then out-
lined and the client introduced to the sandtray and symbol shelves.
• The counsellor observes the client and assesses their current emotional
state and needs.

• The counsellor reviews the previous session outcomes (if there has been
a previous session).
• The counsellor and client discuss significant current life events.
• The counsellor provides opening instructions and initial directions for
the sandplay. These will depend on the presenting problem, assessment,
personal history and client’s aims. The opening instructions can range
from ‘Would you like to play with the sand?’ to more specific directions
(see page 49).
During the sandplay

• The facilitator’s role is to be a loving presence, to observe carefully and
occasionally ask questions that encourage self-discovery. These questions
are based on the counsellor’s observation and analysis of the sandplay.
• Usually the client begins by meeting the sand. They play with and
shape the sand, eventually creating a landscape. This is a time of
‘crossing the threshold’ to meet the inner world.
• The client is encouraged to take occasional deep breaths to support
emotional opening.
• The client is encouraged to focus on self – body awareness, awareness
of mood, etc.
• The client chooses symbols, usually with no analysis or discussion. Any
initial interpretations by the facilitator are not shared with the client.
• A story or picture emerges. This may take place either in silence or with
the client telling the story as they create. The facilitator may ask some
questions to extend the client’s experience.
• During the sandplay the facilitator observes the client’s facial expressions,
posture, emotional expressions – observing clues to their inner state.
• The facilitator looks for the main themes. This will allow for follow-up
discussion that may connect the play to the client’s life.
• Significant spatial relationships in the sandtray may give clues to
emotional states and issues, and can be cues for supportive questions.
• Supporting deeper exploration:
1 Ask the client about the symbols or story.
2 The client tells the story from the point of view of each main symbol.
3 Ask about any buried, hidden, isolated or non-concrete symbols.
4 Role-play with most significant symbols – ‘I am …’. (see page 116)
5 Dialogue between conflicting or connected symbols.
6 Allow the client to change the picture around. (Any change in
placement is always done by the client.)
7 Emotional release work.
8 Draw out links between the picture/story and client’s life.
After the sandplay

• Begin the integration processes. These may include:
– writing the story or a summary of inner experience – journalling
– dancing the story

– resting – simply invite the client to lie down quietly for a few minutes
– discussion, including client’s feedback on themes, connections to life
events, new directions or aims, future session plans.
• Discuss recommended follow-up and homework.
• Client does completion drawings:
1 ‘Draw how you feel now – use body outlines, mandala circles.’
2 ‘Record the sandplay through drawing the symbols.’
3 ‘Take a Polaroid photo.’
• Include in the evaluation awareness of the story; the possible unconscious
meanings, as well as connections with current life; the emotional
expressions; the client’s body posture, energy state, emotional state and
self-awareness. (see Record Form, Appendix III, page 117)
• Normally the facilitator puts away the symbols after the client leaves the
room. This leaves the final picture of the psyche intact. However, some
clients prefer – for a sense of closure or privacy – to put their own symbols
away. The counsellor would ask the client which they prefer. Always let
the client know that their sandplay will be dismantled after their session.
Some ways of beginning

Meeting the sand
• The client sits (or stands) in front of the sandtray, closes their eyes, if
comfortable, and brings their hands slowly into contact with the sand.
• The client might share any sensations experienced or memories that
come to mind. Ask:
‘How does it feel?’
‘What is the texture like?’
‘Tell me about its temperature.’
• The client might allows hands to move, explore. Ask:
‘Is there a story that goes with the hands meeting the sand?’
Mixing the sand

For those who are new to sandplay or just hesitant, invite them to pour some
water over the dry sand and suggest they mix it in. The movement will soon
engage their interest, ready for the next stages.
Formations in the sand

• The client continues on from mixing the sand, allowing the hands to
make shapes and formations.
• Observe if the form created is:
– abstract
– an expression of feelings
– an actual scene
– a story.

• The client may talk about what they are doing or be silent. They
may choose to talk after; or they may choose not to talk at all. Inner
transformation takes place even if the facilitator does not know exactly
what is transpiring during the formation process in the sand.
Sometimes clients burrow to the bottom of the tray very quickly, turning
over every grain. Others meticulously smooth the surface or pat it down
firmly. Still others will not relate to the sand as a medium for exploration and
will immediately choose symbols and simply place the objects in the tray
as it is presented to them. An adult client who operated earthmoving equip-
ment always chose an implement with a straight edge with which to shape
and flatten the sand.
A young client (eight years old) created complex and amazing battlefields in
the sand. There were ‘camps for the good guys and the bad guys’ complete
with foliage to act as camouflage, battle zones where fighting happened and
hidden areas where treasures were stored. Two sandtrays were used at first
because there was too much to contain in one tray. Interestingly, despite the
complexity and diverse nature of the structures the sand in the trays was
never disturbed. The young client never actually touched the sand. When
invited to do so this client obligingly created a very small indentation in one
corner of one tray and said, ‘There, is that okay?’ The facilitator then returned
to simply observing the action rather than suggesting something different.
Adding symbols
Invite the client to choose objects to add to the tray and make a picture or
story. Some possible opening directions are:
• ‘Would you like to play with the sand and then choose symbols from
the shelves and place them in the tray?’
• ‘Make a picture or story:
– about your life
– about you when you were little
– about what is going to happen
– about yesterday
– about all the people you know
– about a pretend story with you in it
– with all your favourite things in it
– with all the most frightening things in it
– about the future.
• ‘Make up a pretend story that happened in a far off place, a long time ago,
with you in it.’
• ‘Make up a story – or create a picture – about your life in the future.’
• Remember that:
– it is important to allow and encourage any sense of progression,
change, freedom or absorption into the client’s own world.

– there are no rules for the client, apart from respect for the materials
and the counselling environment.
– the client is always right in their choices and arrangements.
Gestalt role-play with sandplay figures

If you notice a particular attraction or repulsion for one of the figures in the
sandtray, or you suspect a significant symbolic meaning in a figure that seems
to be ignored, the exploration can be deepened with role-play. This method
was created from Frederick Perls’ dreamwork method, and it enables older
clients to integrate specific meanings and messages from their inner world.
Gestalt role-play can also be used if there are only sand formations and no
figures. See Appendix II, page 116, for the Gestalt role-play exercise. Often
the figure will symbolise some aspect of power or energy that the client has
disowned. The client can be invited to role-play either one of the symbols
chosen from the collection or one of the symbols created in the tray, such as
hills, caves, volcanoes, graves, etc. By becoming it, they can become more
themselves – own the positive qualities, or have permission to release any-
thing negative.
The role-play exercise works best with clients over nine years of age. Role-
play with younger clients may take the form of a game, with an emphasis on
movement and sound, and only a few of the structured questions.
The focused method

This slightly more directive method of sandplay has proved effective for cli-
ents who may be challenged by so many choices or who may exhibit a very
short attention span. Too wide a choice, instead of enhancing a sense of free-
dom, may increase scattering of attention, and sometimes feels threatening.
When working with these clients, close blinds and doors to eliminate out-
side disturbances. Every effort is made to reduce visual or noise distractions.
Offer the client specific parts of the symbol shelf to choose from or direct
them to choose from one shelf at a time. The client selects symbols and sits
at the tray. From this settled position the figures are arranged.
Directed methods
Sandplay is usually play with minimal direction or intervention from the
facilitator. However, at times we use the symbols and sand as a tool in order
to help a client evaluate and express an issue or open to positive parts of
themselves. Sometimes there is a place for playing around with a theme, or
a task, or a story that becomes the starting point. Essentially, this method
points the psyche in a certain direction that may be required to deal with
an immediate serious problem. The symbol work exercises that follow in
Chapter 4 are a form of directed sandplay. They are best used with clients
who have already experienced the free play method.

Stages in sandplay sessions

In individual counselling using sandplay and symbol work we often observe
several stages that the client moves through.
1 On the first visit there is some initial reluctance or reserve as the client
begins to establish trust. This trust relates to the process, the counsellor
and the counselling environment. Intellectually, the client may trust
more after some time of getting to know the counsellor and the environ-
ment and after a brief rationale for sandplay is given. Adults sometimes
suggest that their problems are serious and they couldn’t imagine how
‘play’ could help.
Clients may take time to overcome any sense that there are explicit
expectations of them. This is more evident when child clients may have
already undergone various psychological assessments and may have
already seen a number of counsellors.
2 As the client relaxes into serious play, a sense of excitement often
emerges. Some clients will want to fill the sandtray with figurines.
Their focus grows and they feel more at home at this stage.
3 Often chaotic pictures or stories appear. In children’s sandplays battles
are common. Death, opposition, threat, isolation, danger and relation-
ships are also some themes in the early stages.
4 Some discussion of the stories usually follows, during which the client
may be projecting their emotional problems onto the figurines, and
experiencing some relief and relaxation in the process.
5 Some acting out of the feelings that arose in the sandplay may follow
through emotional release process work. There may be some role-play
of the characters as a way of further expression of negative aspects,
discovery and reclaiming of positive aspects.
6 In discussion with the counsellor, the client may make links between the
story and their current life problems. The sandplay scene may suggest
helpful strategies.
7 Integration and rest may follow next. Recording through journal writing,
drawing or taking photographs would complete the session.
Often on the second and third visits the client moves more easily and
quickly into the work, and needs less presentation of framework or reasons
for doing the sandplay.
Sandplay for families and groups

An advantage of working from the systemic approach, inviting the family
or a group to participate together in a sandplay, is that it removes the focus
from one member – usually a child – being the problem. Families working
together on a sandplay, can come to some valuable insights about their
dynamics. Group sandplay can be an opportunity for more real expression
and listening to each other. The shared experience of working in the sand

opens broader communication within the family. Lack of shared communi-

cation can be a major cause of acting out behaviour in the children.
Family members do become actively engaged in the group healing pro-
cess. The group sandplay can bring to the fore the resistance of one family
member to healing, growing or changing.
The counsellor will need to be vigilant that the group sandplay does not
become an opportunity for further dominance by any individual in the group.
There is a need for awareness of any habits of expressing hostile reactions
within the group. It is best if the counsellor has worked on a one-to-one basis
with at least some of the individuals before progressing to group work.
Usually we would invite a family – which is commonly a child client and
one or both parents, or two siblings – to work together after they have par-
ticipated in at least one solo session. It is ideal to have several sandtrays
available, just in case the family finds that they cannot work together in one
tray. In this case their difficulties would provide an opportunity for reflection
and communication.
It is essential to have commonly agreed upon boundaries and rules. There
has to be a good level of commitment from each member in the group to
attend the session and abide with the agreed rules. If all have experienced
sandplay previously then direct them to decide on, and make a contract to
agree to, their own rules. If they are new to sandplay, the counsellor could
set the rules. Clients need to agree that the action of the session takes place
inside the sandtray and, if there is a need for time out or problem-solving
during the sandplay, time be taken to do this.
The rules usually used in group or family sandplay should cover:
• how the sandtray is divided spatially
• who can move whose symbols
• whether permission is needed to change the landscape
• whether turns need to be taken.
Sometimes the participants will change their minds and decide not to
have rules. This needs to be brought out and discussed.
A vital ‘rule’ or intervention by the counsellor will be the invitation for
participants to express how they feel about what is happening in the sand.
It is usual for this rule to be discussed before commencing.
Parallel sandplay can also be used. For this two trays are placed side by
side and two people work in their own space, but with awareness of what
the other is doing. Sometimes this can be achieved with a dividing line down
the middle of one tray.
The counsellor attempting family work is advised to spend a significant
amount of time exploring their own family of origin issues. This will sup-
port the energy needed to follow the action in the tray and deal with any
members who may be overwhelmed with feelings or reactions to others in
the group.

Family sandplay should not be attempted if:

• the level of trust within the group is very low
• interpersonal conflict has reached the point of physical expression
• abuse or aggression has been the primary tool for dealing with problems
• the counsellor suspects there may be an agenda in some members that is
not supportive to the family well-being.
Sandplay with couples

Work with couples proceeds with many of the guidelines suggested for work
with families. In the ERC framework there is a focus on self-exploration that
can lead to clearer interpersonal communication. The counsellor is not there to
give advice or referee. The focus is on intrapersonal discovery and clearing,
that then enhances clarity, honesty and compassion in interpersonal discovery.
Usually a couple work independently for their first sandplay or symbol
work session. This enables the counsellor to be sure that there is no acti-
vated hostility that could be acted out through the sandplay, causing emo-
tional wounding. Some time is spent by each of the pair choosing, creating
and arranging the symbols, or creating the sandplay. Then the couple may be
invited to come together, in the presence of the counsellor, and take time to
view the scene created by the other. Each talks about their own creation, the
partner listening without comment.
Then once both parties have shared their experience, the counsellor can
extend the dialogue and explore how each felt as they listened. The coun-
sellor might invite them to express how they felt about:
• the process of their own sandplay
• listening to the other
• the other’s perspective
• things they might see differently
• what they see in a similar way.
After exploration individually a couple may feel comfortable enough to
work together in the sandtray. It is important to work in a field of mutual
respect, independent of outcomes for the relationship. Partners do not
displace the other’s symbols, choose or suggest symbols for each other or
change the arrangement made by the other.
For the facilitator, the images created in the sandtray act as a psychological
and emotional guideline about the nature of the individuals in the relationship
and the relationship itself.
One of the benefits of couple work in sandplay or with symbol work is
that rational thinking is suspended long enough for each person to explore
their inner self to some degree. They can explore their contribution to the
relationship and their personal focus, direction and aims in the partnership.
The symbols actively reveal aspects and subtleties of themselves which may
not have become evident through any other means.

Chapter 4
Symbol work exercises
Awareness is the capacity to focus, to attend. Thinking is not awareness, feeling is not awareness,
sensing is not awareness. I need awareness to be in touch, to know that I am sensing or feeling or
thinking.
J. S. Simkin, Individual Gestalt Therapy, 1970
ymbols create an easy doorway through which both counsellor and client
S can travel together. They can be utilised in every stage of the counselling
journey whether that lasts for one session, a dozen sessions, or more.
Working with symbols appears quite simple: accumulate a variety of sym-
bols, have plenty of art paper and crayons available, build a sandtray, fill
it with sand, include the element of play and then follow the client’s logic.
However, exploring the individual’s psyche at depth is not a field in which
inexperienced or untrained players flourish. Learning about the power and
depth of symbols and sandplay can continue for a lifetime. The process is a
dynamic one, although the principles of emotional release which underpin it
remain constant.
In this chapter we have included a small number of exercises to illustrate
the possibilities for including symbol work within each stage of the coun-
selling process. Over the years we have developed and created an extensive
and highly effective range of symbol work exercises and ways to explore
the sand world. These exercises vary in degree of difficulty and outcome,
from exploring tentatively through to working at depth with unconscious
material. To employ these exercises we believe it is essential, however, to
have undergone relevant training in the frameworks, perspectives and
methodology of the way in which sandplay and symbol work is util-
ised by an emotional release counsellor. Every therapist must ultimately find
the way of working which, in their heart, feels right for them.
Working with the broader cartography of the human psyche that underpins
the emotional release perspective allows a person to shift ground from doing,
helping and managing, in a strategic way, to being present, allowing, guiding,
supporting and acknowledging in an empathic way.
Although we present one or two exercises in each category, usually only
one exercise would be offered during a single session. Although, it is quite
common for young clients, say from 6–10 years old, to do more than one exer-
cise. Once they have established trust, they want to explore every possibility.
54
Often a simple introductory exercise followed by some discussion will be

immediately followed by something a little more challenging.
The basic steps of a counselling session

There are six basic steps we recognise in planning an ERC session and the
sandplay symbols can be useful in each step:
1 ‘Breaking the ice’, developing trust, hope, inner strength
2 Self-exploration, self-discovery
3 Emotional release processing
4 Integration – discussion, drawing, writing
5 Support for creativity and positive use of energy
6 At home after the session – homework or home play.
Following are some useful examples of ways in which each step of a
typical counselling session could be extended with the use of symbols.
1 ‘Breaking the ice’, developing trust, hope,

inner strength
Symbols can be very helpful in the early stages of counselling sessions. They
can support the client to find language for feelings, memories, events and
conflicts. They support clients with limited verbal skills. The use of their
concrete form and flexibility as a base for projection of the inner world can
help counteract confusion and reticence.
Introduction exercise
Starting discussion with a new client
Suitable for children 10 years through to adults
1 Select three symbols from the sandplay collection that you like most, or feel most
attracted to.
2 What are some reasons for your choices?
3 If the client seems ready, attempt a brief role-play. Focus on any positive messages
that the symbols present during the role-play (see page 116).
4 Follow the role-play with some discussion about any symbols the client does not
like and would not choose.
Symbol work exercise

How do you feel about counselling?
1 Prepare a large circle on a page in your drawing book (or in the sandtray).
2 Tune into yourself, relax and take a few deep breaths.
3 Think about the following questions and then select one or two symbols for each:
• What activities would you like to do rather than come to counselling?
• Do you have any negative feelings about coming to counselling?

• What are the hopeful, positive feelings you have about coming to this session?
For children 9 to 15 years, deal with one question and symbol at a time.
4 Arrange the symbols in the circle drawn on a page in your drawing book.
Encourage conversation about hopes, fears, needs and negative self-talk they
have noticed, and attitudes about the need for counselling. The client may also
bring forward any questions about the processes being used.
6 Create a dialogue between the symbols (see page 84).
7 Offer the possibility to role-play the symbol for the third question (see Gestalt
role-play exercise, page 116).
8 Write down any messages from the symbol and any insights or summary statement.
9 Draw the symbols on a page in your drawing book, if time permits.
2 Self-exploration, self-discovery
Symbol work has a supportive role in establishing a positive attitude in the
client towards counselling. Once an interest in self-discovery is awakened,
the client begins to feel that the counsellor is with them ‘on the same team’,
rather than in opposition in some way. The following exercises are designed
to activate the client’s interest in self-discovery and support the shift from
apprehension to interest.
Introduction exercise
Free exploration of the sand
Suitable for all clients
1 Sit comfortably at the sandtray.
2 Explore and shape the sand with your eyes closed.
3 Focus on the feeling of the sand on your hands.
4 Observe the shapes made. What memories do they trigger?

What is inside me?
1 Draw a large body outline in the sandtray.
2 Sit or lie down in a relaxed way and tune into your body.
3 Focus your awareness on your head, chest, belly, legs.
4 Become aware of any physical sensations, tensions, emotions or excitement that
may be held in these parts of the body.
5 Select a symbol that in some way matches how each of the four areas of the
body feels.
6 Arrange the symbols in the body outline in the sandtray.
7 Ask the client to discuss:
• the choice and location of the symbols
• the feelings of each symbol
• possible reasons for the feelings or sensations in each part of their body
• anything else in their body for which they could select a symbol.

8 Ask the client:

• what each symbol would say if it could speak
• what each symbol would say to the other symbols
• what the symbols might want to say to them
• if there is anywhere in the body outline that the symbols would like to move to.
9 After a brief relaxation, discuss any strategies the client could use to deal with
the tensions, emotions or excitement.
3 Emotional release processing

Emotional release process work is the province of counsellors who have com-
pleted training in this approach. It allows and supports the direct expression
of emotions held by the body which, in turn, creates more emotional space
inside for growth and for a steady, healthy progression of the emotional
maturing process. The exercises given here are merely a sample of what is
available to use in this stage.
Some of the basic strategies that help clients deal with the expression of
feelings are:
• externalising the person or situation they are reacting to, through
drawings, appropriate symbols, or an empty chair
• visualising the person or situation that they have strong feelings about
as smaller than themselves
• selecting one or more symbols that convey characteristics of the person
or situation they are reacting to and addressing their release work
towards the symbols
• visualising themselves as being larger than the person or situation that
they have strong feelings about
• identifying with one or more symbols from the sandplay collection that
portray power and strength as they begin their release work.
Guidelines on emotional release work and preparation for it can be found
in Chapters 3 and 5 in Emotional Release for Children (Pearson and Nolan,
1995).
Symbol work and movement exercise

Exploring my feelings
Suitable for children 7–14 years
1 Stand in front of the symbol shelves and, with your eyes closed, relax and take a
few breaths.
2 After a moment of tuning in to self, open your eyes and select symbols that
go with:
• caution ‘You’ve got to be very very careful in life’
• play ‘I just want to have fun!’
• fear ‘There are so many scary things in the world’
• courage ‘I’m not afraid of anything’.
3 Arrange the symbols on a page in your drawing book or in the sandtray.

Ask the following questions:

• How do the symbols relate to each other?
• Which ones stand out for you?
4 Direct the client in movement work, role-play or dance, asking them to pretend
that they are the symbols for a short time. End with the courage symbol.
5 Give the client time to rest or draw and discuss how they feel after the move-
ment work.

Beginning to talk about my feelings
Suitable for children from 7 years through to adults
1 Divide the sand in the sandtray in two halves. Create a dividing line by making a
long ditch, or a mountain range, or find a fence on the shelves.
2 Collect a symbol for each of these categories:
• something loving
• something needing love
• something angry
• something that ought to be angry
• something sad
• something that ought to be sad
• something wise
• something needing wisdom.
3 Arrange the symbols opposite each other on each side of the dividing line.
4 Ask the client the following questions:
• What do you think the symbols are thinking or wanting to say to each other?
• How do you think they came to feel this way? Can you imagine a bit of their
story?
• Are there any symbols here that are like your life right now?
• If you were in the sandtray, where would you be?
Find questions to support self-discovery and emotional release in the client.
5 Give permission for the client to change the arrangement of the symbols at
any time.
6 End with an invitation to the client to draw how they feel.
4 Integration – discussion, drawing, writing

Integration takes place within the counselling setting, although the images
created with the symbols and sand stay with a client long after the session has
formally ended. Integration involves both an active element using movement
or dance or a quiet focus using drawing or writing tools. Symbols can be used
to represent quickly a visual overview of issues that have been dealt with and
feelings that are currently present in the client. The following exercise would
be used after a series of ERC sessions. It uses both symbols and writing as
ways of externalising so that progress is made tangible and visual.

Symbol work exercise to support decision-making

What should I do now?
This exercise helps clients to achieve clarity about decisions, choices and new directions
that may arise after counselling work.
1 Divide a sandtray in half (or more).
2 Gather symbols for one option and arrange them in half the sandtray and then
gather symbols for the second option and do the same on the other half.
3 Discuss the symbols in each half. Ask some supportive questions, such as:
• Which symbols seem to stand out to you as being most important now?
• Which symbols do you feel good about?
• Do any of the symbols worry you?
• Which half of the sandtray seems most exciting?
4 A written summary about each half could be helpful.
5 Support for creativity and positive use of energy

What would I like to do?
1 Select symbols in these four categories:
• You in your life now
• What creative activity you would most like to do
• What, or who, helps you do what you want to do?
• What, or who, stops you doing what you want to do?
2 Arrange the symbols in the sandtray, or in a circle drawn on a page in your drawing
book, in any way you feel the symbols relate to each other. (This may take some time.)
3 Invite the client to discuss how they have arranged the symbols. Offer simple
questions to encourage the self-discovery, for example:
• How is this figure like you?
• How long have you wanted to do this activity?
• How do you feel when you think about this activity?
• Have you ever actually done this activity?
• Is there anyone who helps you?
• I wonder if there is anything inside you that stops you doing it?
4 Ask the client to suggest:
• new approaches to expressing their creativity
• strategies for dealing with what stops them
• reminders about finding help or support for this activity.
6 At home after the session

Parents may sometimes not understand what happens when their child
chooses alien figures, spiders, dinosaurs, jewels. Some parents – and partners

too – may hasten to interpret the picture of the sandplay or the drawing as
negative towards them or the current home situation. Some parents report that
their child is very capable of creating lots of wild and wonderful stories from
their imagination. Homework – or homeplay – is geared to the context of sup-
port the client has available. It could involve a simple journal exercise, a com-
munication activity, a drawing about strong feelings or a physical exercise.
If home is a supportive environment, young clients can be invited to select
symbols from home and bring them to be used in the next session. They can
also be invited to find an object to keep at home to remind them of symbols
that were empowering in their work in the counselling session.
Occasionally, to remind them of the work they have done in the session
and to remind them of positive qualities that have been discovered, the child
might ask parents to buy a similar figurine or poster that reminds them of a
significant symbol.
Parents of child clients are encouraged to provide plenty of expressive play
activities at home that use toys and symbols, for example a sandpit, long
bath times with plenty of toys, model-building, Lego.
In consultation with parents, suggest some family communication games
(see Chapter 10 in Emotional Healing and Self-esteem, Pearson, 1998).
Relationships
Working with couples using sandplay and symbols can be very rewarding for
both the counsellor and clients (see page 53). Partners can work together
with their own sandtrays, or in separate sessions.
Relationships symbol work exercise

Beginning to talk about my relationship
Suitable for adults
1 Select several symbols from the shelves that correspond to these areas:
• your hopes for the relationship
• what it is you most love in the other person
• what you find difficult in the other person or in the relating
• your feeling about the other’s expectations
• any fears you have about the relationship.
2 Arrange the symbols on a large sheet of paper in some way that represents how you
perceive the connections.
3 Invite the client to discuss what they have chosen.
4 If appropriate, suggest a role-play of the significant symbols.
Note: It might be helpful for the client to write a summary of their insights.

Relationships review
Suitable for adults

1 Stand and stretch your body, shake it a bit to wake it up, take a few deep breaths.
2 Select three symbols from the sandplay shelves – one for each of these categories:
• the best quality you have to offer in relationships
• what you find most difficult in relationships
• the feeling of significant relationships during your childhood.
3 Arrange the symbols on a page in your drawing book. Think about the way you
arrange them:
• Are they close or distant?
• Which ones are facing each other, or facing away?
4 With your crayons, add any shapes, colours, lines or words as background, to denote
the relationship, or energy, between these elements.
5 In your journal:
• find a word or phrase that sums up each symbol
• write any insights you gain from the arrangement
• record any personal meanings of the symbols.
6 Discuss any insights or reasons you suspect may be behind this choice of symbols.
7 Invite the client to role-play the first symbol – the one for their best qualities.
(See Gestalt role-play exercise, page 116). Record the message from the role-play.
8 Suggest to the client that they complete the drawing in their drawing book,
maybe drawing the symbols onto the page, or capturing the energy of them.
Families and school

Family counselling requires particular skills (see pages 51–53). The symbols
and sandtray offer a valuable media for group members to express, commu-
nicate and reveal, and learn about others.
The school setting is a place where a group of people come together for a
large part of their day but who may, in some instances, have little reason to
want to spend time with each other. Many interactions happen, some plea-
sant, some unpleasant and some stressful – for both young people and
adults. Exercises that give the client an opportunity to express and sort
through their feelings offer the possibility of positive action, resolution and
integration of difficult events.
Symbol work family exercise

Family portraits
Future Present
When a When a
baby small child
1 Ask the client to set out the sandtray like this, marking dividing lines in the sand:
2 Stand at the side of the sandtray.
3 Select sandplay objects to make four pictures about each period of your life –
beginning with ‘When a baby.’
4 Encourage the client to talk about each picture – either while it is being created,
or after.
5 Ask the client to note any similarities and differences between the pictures, and
talk about these.
Symbol work family exercise

The people in my family
(Contributed by Kathy Halvorson)
1 Draw a large circle on a page in your drawing book. This circle represents your
family and can be labelled ‘My Family’.
2 Place a dot in the middle of the circle.
3 Discuss the meaning of ‘family’, that it could mean extended family and include pets.
4 Choose a symbol for each member of your family, without disclosing who the
symbols represent. Then choose a symbol for yourself. Place the symbols on the
floor – or table – beside the paper with the circle.
5 Say: Don’t tell me who is who. We are going to play a guessing game. I am going
to try to guess which family member is represented by each symbol.
6 Place the symbol for yourself on the dot in the centre.
7 Say: Now I am going to ask you questions about each of the other symbols. At the
end of the game I will try to guess who they are.
8 Ask questions about each of the other symbols and their relationship to each
other and to the child. The aim is to extend the discussion, inviting the child to
share more about their family relationships and their feelings.
9 Finish asking the questions about each symbol, then instruct the child to place
the symbol in the family circle. Ask the child to consider how close the
symbol/person feels to them and then ask them to arrange the symbol in a way
to represent that. Ask them to consider which way the symbol should be facing.
10 Once each symbol has been placed in the circle, guess the identity. Ask the client
to confirm or correct your choice.
11 Invite the child to guess what each symbol might be thinking or wanting to say
to the others.
12 Ask the child to review the final arrangement and discuss what they learn from it.
13 Support integration of the session through:
• discussion of any changes the child would like
• drawing the symbols onto the page – or if drawing skills prohibit this, making a
circle for each symbol and writing the names of the people they represent in it.
Symbol work school exercise

Me and my class
Suitable for 7 to 17 years for individual or group work (with older children)
1 Draw a large square on a page in your drawing book. Call it ‘My Classroom/My
School’.
2 Place a dot at the centre. Name it ‘Me’.

3 Close your eyes. Take a slow full breath and breathe it out slowly.
4 Feel yourself coming home inside your body.
5 Open your mind to this picture: ‘Your friends at school and people you don’t really
like at your school’. See them clearly.
6 Find a figure from the sandplay collection to represent you. Let it choose you. Don’t
think too much about it.
7 Choose a symbol for each person you thought about at your school – as you
pictured them in your mind.
8 Place the figure that represents you on the dot at the centre of the square.
9 Arrange the other symbols in or around the square.
10 As you arrange the symbols think about:
• how close or distant from you each one will be
• whether or not they connect with each other
• if they are facing you, or turned away from you
• if they are inside or outside the circle.
11 Talk about:
• how you arranged the figures
• who likes who, and who dislikes who
• each person, and the symbols you chose for them
• anyone who is not on your page
• how you would really like it to be.
12 Now become the figure called ‘Me’. Pretend you are it.
• How does it feel to be this symbol?
• What qualities does it have?
• Is there anything it would like to say to anyone on the page, or to you or to
your parents?
13 Integrate through:
• drawing the figures onto the page, writing a brief description of them or taking
a Polaroid photo
• writing a few lines in your journal about the most important things you felt or
learned from this exercise.
Emotional and physical release
Movement and symbol work exercise

Breaking free with dance
In this exercise symbols are used as a stimulus to movement and dance as a way of
supporting physical and energetic release of frustrations.
Suitable for children 7–14 years and adults from 20 years onwards (adolescents are
too self-conscious)
1 Select three symbols:
• one that seems stuck or imprisoned
• one that is breaking free or escaping
• one that is flowing, relaxed and playful.
2 Arrange them in a circle on a sheet of paper or in the sandtray.

3 Role-play and dance as each symbol.
4 How do they relate to each other?
5 Invite the client to talk about how these relate to their life’s journey.
Dance and role-play release exercise using

sandplay symbols
Understanding my moods
This exercise aims to allow emotional release and to encourage children to talk about
their feelings and triggers for feelings in their lives. A selection of music for move-
ment work to go with the energies of angry, sad, happy and powerful are needed to
complete the exercise.
1 Draw a large circle or oval shape on a page in your drawing book, with a dark crayon.
2 Visualise or remember these moods and energies:
• angry
• sad
• happy
• powerful.
3 Take a symbol for each mood or energy. (All at once or one at a time.)
4 Arrange the symbols in the circle on your book. Think about how they relate to each
other. Make a picture of how they go together.
• Would you put them close together? Far apart?
• Are they facing each other? Facing away?
• Would you like to put any of them outside the circle?
5 Let yourself remember any times when you have felt like these symbols. Think about
this for a moment.
6 Stand up now and take some big breaths, give your body a stretch.
7 Looking at your arrangement of the symbols, concentrate on the symbol for ‘angry’.
I’m going to ask you to pretend that you are that symbol for a few minutes.
8 Breathe in all its qualities.
9 Get ready to role-play this symbol, to dance and act out its feelings.
10 Take a stance with your body that goes with the feeling.
11 See what your arms could do to look a bit like the symbol. What is happening in
your back? In your legs? On your face?
12 Exaggerate this stance; make more of the feeling show.
13 When the music comes on let yourself move like the symbol, or move like the feel-
ing the symbol shows you. You can make sounds or say words.
14 Dance for about two minutes. (Play music.)
15 Look again at the arrangement of the symbols on your page. Do you want to change
them around? Do they seem different now? Which one would be closer to the front?
Which one might you want to move to the back?
16 Continue this dance process for all four symbols.

17 After the fourth symbol has been danced look again at the picture the symbols
make together. What have you learned about yourself from this dance work? Is
there a statement you could make about your discovery, your growth, your inner
journey?
18 Write this onto the page (or tell me).
19 Draw the symbols in your drawing book now, or write a few words to describe
each one.
20 Discuss the drawing and the words.
Emotional release process work

Reactions with family of origin, workplace and personal life
Suitable for adults (can be easily adapted for use with adolescents)
Stage one: Preparation and reviewing reactions
1 Select one, two or more symbols for people or situations you react to (or reacted
to in the past):
• in your family when you were a child
• at work – boss, colleagues, etc.
• in your current close or intimate relationships.
2 Arrange the symbols on a page in your drawing book, in their groupings. Add
colours or lines that might help express your feelings and connections, or which add
meaning.
3 Discuss how you feel as you look at the symbols. You can say who the symbols
represent or keep this information to yourself.
4 Sit and look at the symbols and:
• tune in to your body and deepen your inner contact
• take some deep energising breaths.
Stage two: Confronting reactions and emotional release
5 Using the following guiding questions as a starting point, see if you can speak a
response directly to the symbols – as if those people were here now. Allow yourself
to express anything. It may surprise you what needs to come out. Keep taking deep
breaths as you work with the questions.
• Were there any times when you couldn’t speak to these people, when you
couldn’t tell them your real feelings? Could you tell them these feelings now?
Was there any anger or grief you had to contain?
• Is there anything unsaid? Are there any missed moments of relating? Could you
talk about these now?
• Were there any expectations of you? What did you feel was expected of you, or
is expected now? Tell them.
• Tell them about how you see them dealing with their reactions.
• Is there anything you want – or wanted in the past – from them? Could you tell
them now?
• Was there an essential truth about yourself that you couldn’t tell them? Were
there any qualities, skills or talents that were ignored, or you had to hide?

• Focus on yourself now. How could you support a feeling of strength? Is there any
way you need to claim back your strength now? Is there any way your body needs
to move to help you do that?
Stage three: Integration
6 Feel the point where you are finished with these issues for the time being. Let your
body lie down and rest. Take some time to be very gentle with yourself.
7 When you are ready, take some time to write about your feelings and insights in
your journal. You may like to draw a mandala of how you feel now, or add to
the drawing you made with the symbols, perhaps drawing some of the symbols onto
the page.
8 Discuss your insights and any new directions or strategies that might be relevant.
Inner world review exercise with symbols

The different parts of me
You will need the worksheet ‘The different parts of me’ (see Appendix I, page 115),
enlarged to A3 size, for this exercise.
1 Label the four quadrants of the chart, writing outside the oval:
• my feelings
• my self-image
• my relationships
• my hopes and dreams.
2 Use crayons to colour in, shade or illustrate each of the sections in a way which
goes with or represents the mood or feelings of that particular aspect of your life.
3 Relax by lying down or reclining on cushions. Take several deep, slow breaths. Watch
what comes into your mind as you review your feelings during the last few weeks.
• What do you remember about your feelings, your inner life?
• How have your feelings made themselves known?
• Who have you had strong feelings towards?
• Can you identify the dominant feeling of the last few weeks?
4 When you are ready, select two or three symbols that remind you of your feelings
and arrange them in the first quadrant.
5 Relax your body again and take a few deep breaths. On the out breath see if you
can let your body sink deeper into the carpet or cushions where you are relaxing.
• What has been your image of yourself over the last few weeks?
• Have you felt good about yourself at any point during this time?
• What are the main criticisms you’ve had of yourself?
• How do you think others see you?
• What is your main self-image?
6 When you are ready, select two or three symbols that go with the images of yourself
over the last few weeks and arrange them in the second quadrant.
7 Relax, breathe deeply, allow deeper physical and psychological surrender. Really ‘let
go’. Watch what comes into your mind when you think about your relationships over
the last few weeks.

• Who are the people you have related to?

• How have you felt about your connection with others?
• What have been the high points?
• What have been the difficulties?
• How has it been with your main or most important relationship?
8 When you are ready, select two or three more symbols that remind you of your rela-
tionships and arrange them in the third quadrant. Relax again, breathe a few deep
breaths and let go even more on the out breath.
9 Have you been in touch with any hopes and dreams for your life over the last
few weeks?
• What are they?
• Do they feel possible? Difficult? Impossible? Near or far?
• Do you feel you are moving closer or further away from your hopes and dreams?
• Has there been time in your life to reflect and dream and plan and hope?
10 When you are ready, select two or three more symbols that remind you of your
hopes and dreams and your feelings about them. Arrange these symbols in the
fourth quadrant.
11 Starting with the first quadrant, look at the symbols you have placed in that section.
Allow words and phrases to come to you now. Around the outside of that section write
the key words and phrases that go with the meaning of the symbols for you.
12 When you have written about that part of you, turn the page around and repeat
the writing process for each of the remaining three quadrants on the chart.
• Talk about the meanings of the symbols and the words that go with each part
of you.
• Let’s talk about practical strategies for beginning any changes that you want.
13 Assess and discuss any areas that the client may need to work on further.
Self-esteem
The ERC approach to self-esteem work is to release what has been covering
self-worth in the psyche, then to draw out and recognise the sense of value
with self-discovery. Much lack of self-worth is connected with an overload
of held-in emotions. Lack of self-worth also comes from self-blame for
negative circumstances, even for abuse. A step in reclaiming self-worth is for
the client to discover the source of any negative or limited beliefs and poor
self-images, or even that there was an external source!
Visualisations and Gestalt role-play exercises, along with sandplay and
symbol work, can help clients recognise and feel their own value. They also
develop personal imagery and new language for understanding and remem-
bering of self-worth. It is ideal to avoid creating any dependence on external
valuing for self-worth (although unconditional regard and a sense of safety
from the counsellor are vital elements in successful therapy).


The most beautiful symbol on the shelf
1 Select the most beautiful symbol from the sandplay shelves.
2 Say what you like about the symbol.
3 Follow this activity with the Gestalt role-play exercise (see page 116) to support
the client to identify similar positive qualities they have.
4 Discuss when these qualities would be most useful.
Exercise using sandplay symbols

Storytelling through sandplay
If no sandtray is available, use a large drawing book and crayons.
1 Ask the client to sit beside the sandtray (or drawing book), close their eyes and
relax.
2 Let your imagination picture a landscape of a far-off mysterious place. Is it on
land? In outer space? Underwater? Are there hills? Valleys? Rivers? An ocean? Make
(or draw) this landscape in your sandtray (or drawing book) now.
3 Pause while the client plays in the sand or draws, then discuss the scene.
4 Choose three symbols from the shelves:
• one for you in your life now
• the one that is the most scary or ugly
• the one that is the most beautiful.
5 Return to the sandtray (or drawing book) and arrange the figures on the landscape.
6 Make up a story about these figures going on an adventure together:
• Tell it as you make it up.
• You can move the figures around as the story goes along.
• You can get more figures from the shelves if you wish.
7 Ask the client to answer these questions as the story goes along (or at the end):
• How do the figures feel about each other?
• How do they travel together? Happily? Angrily? In harmony?
• What are the qualities and feelings of each figure?
• What is the purpose of their adventure? To discover something? Overcome an
obstacle? Solve a problem?
• How would you like the adventure to end?
Throughout the story support the actions to be played out and allow any moods
or feelings to be expressed. Also make up questions that encourage the story to
progress, for example ‘What happens next?’; ‘Show me how that moves’; ‘How did
they feel about that?’.
8 At the end of the story, support the client to explore possible links between the
story and their life. Some possible questions include:
• Have you ever felt like any of these figures?
• Has this ever happened to you?
• Is there anyone in your life like this?

• Would you like this to happen to you?

9 If time and attention span permit, allow the client to role-play each figure. See
the Gestalt role-play exercise (see page 116) and add these two questions:
• What is it you want to say to the other figures in the story?
• What do you want from the other figures? Tell them now.
10 Draw the landscape and symbols in your drawing book and write down any
important insights.
Sandplay exercise
My life’s journey
1 Spend time playing in the sand with your eyes closed and taking some deep breaths
– playing, smoothing, shaping etc.
2 Visualise your life, things that have happened, events, places you have lived or
visited, people you have known and different activities you have done. Could you
make a picture or map of your life?
3 Go to the sandplay shelves and find one or two symbols to represent the starting
point of your journey and place them in the sand.
4 Ask the client the following questions:
• Does the journey change its form?
• Does the journey change direction?
• Does the landscape or vegetation change as you go along?
Express this in the tray now.
5 Close your eyes, take three or four deep breaths and connect to yourself again.
Think about your future. What comes to your mind? Select two or three symbols for
the future and arrange them in the picture of your journey.
6 Take some time to review the journey. Discuss any insights.
Spiritual direction and personal review
Symbol work exercise for spiritual direction

Exploring my connection to the sacred
Suitable for adults 18 years onwards
1 Reflect on three aspects of your inner life:
• your connection with the sacred in nature
• memories, images, feelings of the sacred in other people around you in your life
• your connection with the sacred deep within yourself.
2 Select one or two symbols that go with each aspect.
3 Arrange the symbols on a page in your drawing book.
4 Draw lines of connection, using line, colours, shapes and shading. Add words that
describe the connections. You can either do this in silence or discuss what you
are doing.
5 Draw or write the names of the symbols.

6 Give the picture a title.

7 You may wish to discuss the following questions in your journal:
• How did the exercise make you feel?
• What would you most like to remember?
8 Create a summary statement about your connection to the sacred.
9 You could either quietly reflect on this writing or dance out some of the feelings
about it.
10 Invite the client to share the summary statement.
Sandplay and visualisation exercise

Inner treasure
Suitable for children 8–12 years onwards
For this exercise you will need to have an assortment of beautiful items (for example
crystals and jewels) buried in the sandtray.
1 We are going to take a special journey – crossing over water to a deserted island.
On that island, one special treasure is waiting to be discovered by you.
2 Invite the client to make a large boat with cushions.
Imagine sailing on the ocean … boat is rocking gently … excited about discover-
ing this treasure … suddenly the waves get bigger … clouds become dark … rain
starts to pour … The wind howls … the boat is being tossed from side to side …
thunder … lightning. You want to go back home, but something in you wants to
keep on going … suddenly the rain stops. Clouds drift away … sun comes out and
starts to dry you … water becomes still and the boat drifts ashore on the island.
3 You see the sand dunes (sandtray) where the treasure is buried. One special treasure
is waiting for you. Find your treasure now.
4 Use the Gestalt role-play exercise (see page 116) to explore personal meanings
of the treasure.
5 What is one special quality you have? This special quality or treasure is always in
you. Write about it in your journal and draw the treasure.
Self-discovery exercise
Movement, drawing and symbol stories
First stage: Movement
1 Stand up. Close your eyes, take a few deep breaths and relax on the out breath.
2 Imagine you had a paintbrush attached to each wrist, elbow, big toe and ankle.
Start making movements in the air as if you were painting circles, squares and
triangles. Try making all those shapes.
3 Imagine which colour goes with the left elbow, right elbow etc. (Pause between
suggesting each body part.)
Second stage: Drawing
Have a large sheet of butcher’s paper and thick jumbo crayons.
4 Choose a crayon you like the look of then take it in your hand.
5 Make contact with the paper.

6 Close your eyes and imagine that your hand is free, alive, energised – perhaps like
a sports car on an open stretch of beach or an eagle soaring.
7 You are aware inside your hand. Start letting it roam, moving freely – bending,
twisting, rushing, zooming – so that it is drawing freely on the paper.
The client chooses a second and then a third colour, repeating the free drawing.
8 Keep drawing until you feel like the energy in your arm has completed its creation.
9 Looking at the ‘pathways’ that have been created, see if there are any other lines or
images you wish to draw onto the paper now, or areas you would like to shade in.
Third stage: Self-discovery and symbol work
10 Look at what you have created.
• Are there any pictures that you have created without realising it?
• Does it mean anything to you?
• How does it make you feel when you examine the drawing?
11 Select some symbols from the sandplay shelves that seem to belong in your
drawing. See if the symbols would like to select you. Arrange them on or around
the drawing.
• Is there a story that goes with these symbols? You could tell it now.
• Does each one have its own story, or do they make up a story together?
• What would each symbol like to say?
• If you were in this story somewhere, where would you be?
• Is there anything in your life like this?
12 Integrate through discussing:
• how it felt doing the movement work
• how it felt doing the drawing
• what each colour feels like
• memories that go with the pathways
• the symbols chosen and their stories.
13 Write down any important insights.
14 Help the client plan any strategies for new directions or activities that have
emerged out of the discussion.

Chapter 5
Expressive support
processes
It is impossible to live life at the highest level unless you get rid of your negativity, your unfinished
business.
Elizabeth Kubler-Ross, The Wheel of Life, Bantam, 1997
n the ERC approach to emotional healing and personal development
I expressive therapies are offered to clients to support the release of unfin-

ished business. There is quite a range of expressive processes used as an
adjunct to sandplay and symbol work, both to enhance energy activation
and symbolic expression and to facilitate resolution and integration.
Expressive methods are ideal with voluntary clients, where trust and
involvement have been developed. Inviting the body to express the feelings
and integrating this with the mind leads to resolution and long-term emo-
tional healing. Physical and emotional release also clears the way for creative
problem-solving and a reduction in emotional reactivity in relationships.
This chapter outlines some ways of using bioenergetics, energy release
games, artwork and drawing, and briefly outlines exploration with other
media.
Bioenergetics
When using bioenergetics for emotional release, the client should not focus
on a particular individual or situation. The primary aim of these exercises is
to tap into body energy that has been diverted or is stuck. Accessing that
energy and restoring its flow is the goal.
Basic bioenergetic exercises

Begin with a warm-up, then select three or more exercises to precede sandplay or
symbol work. It is important that you acknowledge and accept any resistance or
embarrassment and invite the client to talk about this the first time they do these
exercises. Clients should not do any exercises or assume postures that are painful,
or require endurance. Practise the exercises and model them enthusiastically.
Warm-up
Stretch, take full breaths, and shake your body. Make some loud sounds such as sighing,
groaning, growling.
72
Bound and free

Standing, cross arms and legs and hold everything tight. Then release all at once and
run on the spot, shaking any tightness out of the limbs and making sounds. Repeat
this several times.
Freeing the face

1 Close eyes tightly, suck in a deep breath, hold for a moment, then release and open
face, open eyes.
2 Open eyes wide. While leaving the head still, make large circular movements with
the eyeballs.
The arch
Place feet about 30 cm apart, bend the knees, and rest hands lightly on the lower
back. Gently lean back until your eyes are facing towards the ceiling. Do not let the
head fall back. Breathe deeply. Hold this for a minute, then release and go floppy.
Repeat.
Kicking
Kick a cushion around the room finding some power sounds that go with the kicks.
Alternate legs.
How strong is the wall?

Press with flat palms against a strong wall. Gradually engage your ankles, legs, lower
back, shoulders, arms, hands, then the whole body. Keep the breathing full and free.
Then relax for a moment and repeat three times.
The walk
Walk in a large circle around the room, allowing your hips to be free. Exaggerate this
movement for a while then move into walking with strength.
Stillness
Lie on the carpeted floor for a few minutes keeping as still as possible. Direct the
awareness within. How does it feel inside now?
Bioenergetic exercise
Brief head-to-toe sequence
This exercise aims to give permission, rehearse making sounds and movements and
free up armouring in order to feel more easily.
1 Warm up by running on the spot, then shaking the whole body.
2 Alternate imitations of crying then laughing.
3 Make horrible exaggerated faces.
4 Stretch arms and hands wide open and back taking in big breaths:
• hold tense for a moment
• release and exhale with a groan.
5 Face the wall, tighten fists, start stamping and growling. Add the words ‘I won’t!’
6 Have a tug-of-war with a folded towel with the counsellor. (The rule is that you
must not let go.) Alternate saying to each other ‘Yes!’ then ‘No!’
7 Jump around the room – like a kangaroo.

8 Lie or sit down.
• Can you feel your heart beating?
• Is your energy dancing inside even though you are now still?
Bioenergetic exercise
Imagination helps me move
This exercise aims to use up potentially disruptive energy, to activate the imagination
and to enhance self-awareness through activating energy.
Suitable for children 7–12 years (can be adapted for adolescents and adults)
General warm-up
1 Walk briskly, swinging the arms and taking deep breaths rhythmically while you walk.
Face
2 Imagine the worst foods ever. Show this on your face. You have to eat them all!
How would you look? What sounds would you make? Shout out the names of the
worst foods.
Arms
3 You are the world champion karate expert. You can smash several bricks with one
blow of your bare hand.
4 Demonstrate your skills now. Use both hands.
5 Let everyone hear the power sounds you make as you do this.
Legs
6 You are wearing strong, thick boots. You have been fighting a terrible bushfire and
there are just a few flames left here and there. Stomp the flames out slowly at first,
then very quickly.
Whole body games
7 You are a firecracker, set up ready for the midnight display on New Year’s Eve. The
fuse has been lit. In a moment you will explode and show your colours, your shapes
and your sounds. Here you go: 1, 2, 3!
8 You are now a lizard lying on a warm rock on a sunny day. You are lying beside a
lake. You like to have daydreams. Sometimes you slide gently, silently into the cool
water, then come back to the warm rock. Imagine the scene around you. What
would your daydreams be about? Be still and quiet now for a moment.
9 Draw your favourite part of the games. Discuss your responses to the exercises.
Music to support bioenergetic exercises

and movement work
Music has been part of the human psyche for thousands of years. Ancient
tribespeople clapped, stamped, drummed, sang and fashioned instruments to
make rhythmic sounds. This was used as an accompaniment to their sacred
rituals, celebrations and healing ceremonies.
Music helps us let go, and this relaxation supports the unfolding of our
inner process. Rhythmic music accompanying bioenergetic exercises can
support clients to relax ego control and move more fully. Activating what

Howard Gardner (1983) calls the musical/rhythmical intelligence aids learn-

ing and provides a doorway into knowing ourselves in a different way. The
music also helps access the bodily/kinesthetic intelligence.
When selecting music to support counselling sessions there are three main
categories to consider:
• rhythmic music to support active bioenergetics and movement work
• music for strong movement, release and celebration
• music for stillness, relaxation and letting go.
The third category also includes non-intrusive music that can be used in
the background during sandplays. One of the best ways to discover and learn
how to select and blend music and exercises successfully is by experiencing
the exercises yourself, and then spending time finding and listening to music
that you like and that you think will appeal to clients.
Active bioenergetics and movement

Vangelis Themes, Antarctica, 1492 (soundtrack)
Anaugama Exotic Dance
Gabrielle Roth Bones, Totem, Luna, Ritual, Initiation, Trance, Waves
Scott Fitzgerald Thunderdrums, All One Tribe
Strong movement and celebration

Sirocco Port of Call, Breath of Time, Wetland Suite
Mike Batt Caravans (soundtrack)
Trevor Jones The Last of the Mohicans (soundtrack)
Stillness, relaxation, letting go and background to sandplay

Ennio Morricone City of Joy (soundtrack)
Terry Oldfield Cascade, Illuminations
Tony O’Connor Bushland Dreaming, Serenity, Mariner
Energy release games

As well as bioenergetic exercises and games there are a number of ways to
support clients to complete or integrate their counselling experience using
some energy release activities. These are most often used with children in an
informal way towards the end of a session.
Energy release game

Role-play of energetic symbols
1 Select two or three symbols from the symbol shelves that look the most energetic.
2 Place these on the floor, on your drawing pad or in an empty sandtray.
3 Stand and, while looking at the symbols, take a posture that in some way corresponds
to the most energetic symbol.

4 Exaggerate the stance, feel what muscles are involved and activate these even
more.
Note: sound can be added if it is indicated or appropriate.
5 Have a brief rest and talk about how it felt to do the role-play.
6 Role-play the other symbols.
7 Complete with a drawing of the energy expressed.
The following games are very popular with younger children and are similar
to birthing games (see Emotional First-aid for Children, pages 107–11), but with-
out any specific imagery. They can be very helpful in releasing conscious or
unconscious frustrations and pent-up energy.
Energy release game

Tunnelling
1 Build a large pile of cushions.
2 Dig under the cushions and squeeze through to the other side.
3 Invite the child to repeat the movements over and over.
4 End with a rest and discussion of their enjoyment of the game.
Energy release game

Running around the building
Sometimes it is appropriate for energetic young clients to be invited to run around
the building or room. This helps them to release and aids the flow of any excess
energy or excitement that may have surfaced during the session.
1 Run around the room or building several times.
2 Flop down on large cushions and rest.
3 Tune in to yourself and then talk about how you feel inside.
Energy release game

Dance and movement
Begin with some strong, rhythmic, expressive music (see page 75). It can be helpful
to alternate tracks, following a fast track with a slow track and an energetic track with
a soulful track, using about thirty seconds to one minute of music.
1 Imagine symbols that go with the music.
2 Imagine how these symbols would move.
3 Using movement and dance, explore what it would be like to be the symbols.
4 Explore what type of energy the symbol might have.
5 After the movement or dance, draw how you feel and briefly describe your experience
in words.

Drawing after sandplay and symbol work

There are two main types of drawings that are used with the ERC approach
to sandplay and symbol work. These are:
• process drawings
• completion drawings.
Process drawings
A process drawing is used as an incidental support to a process. It might
involve finding colours, lines and shapes to express the feelings, moods or reac-
tions. It is a step in release work. Process drawings are not necessarily kept
after the process as they are no longer important – they have served the pur-
pose of aiding release. Clients can learn to appreciate the skill of using process
drawings and may enjoy using them as a self-help ‘homework’ strategy.
Process drawings may involve pictures which represent feeling memories
of critical times expressed in colours and lines. These then serve as a basis for
reflection, self-disclosure and discussion.
Questions commonly arise about the meanings of colours children select.
ERC practitioners have found that in children’s colour symbology there
appears to be no consistent use of specific colours for specific feelings or
meanings. However, a combination of black and red often appears when
anger is being expressed or is coming to the surface. Sometimes black is
connected with a depressed feeling and sometimes it is used as a sign of
strength. It is essential to employ the self-discovery questioning method if it
seems that there is significance in the colours. The client’s perception is the
significant factor.
On a large sheet of paper the expression of moods, feelings, energies and atti-
tudes through line, colour, shapes and images – used abstractly or in represen-
tational style – can form a good background for creating a symbol work picture.
Completion drawings
Completion drawings are prepared towards the end of a session, usually
after the sandplay or counselling exercise, as part of integration of the
learning. These are kept for later review. They give time for the unconscious
to complete its expression via colours, lines and images from within.
Completion drawings may also involve recording, drawing a record of a
sandplay or symbol work exercise, or drawing a significant or special sym-
bol discovered in the session.
Body outline drawings may be used by younger clients to express what
they become aware of in their body. These help to direct attention intern-
ally and make connections between sensation, feelings and energy.
Mandalas are also used as completion drawings. These use the circle as a
frame rather than the traditional rectangle or square. A circle suggests a centre,
and drawing within it can have a centring effect on the client. Mandalas and

circular shapes can appear spontaneously in completion drawings and they

invite a quiet focus that supports integration of inner exploration. Some are
geometric and ordered, some are free-flowing and appear at random. Some
contain specific images, others are fully abstract. Children tend to create
pictorial mandalas while adults are usually more comfortable with abstract
expressions.
In all drawings we allow the client to place their interpretation or mean-
ing onto the colours and shapes. Any client drawings must be free from
interpretation by the counsellor. Just as the meanings of symbols always
remain the province of the client, so too do the meanings in their drawings.
Usually the client simply shares the drawing with the counsellor before
moving onto the next step in the process. The act of drawing and sharing is
usually successful in bringing closure.
Using drawing and artwork after a sandplay or symbol work session can
be part of extension, amplification, integration and recording. The client can:
• draw something representing an important symbol, for example a
picture of a pyramid
• draw a circle or draw around the base of the symbol and put a title or
word representing the symbol inside the circle or outline, for example
the words ‘mean witch’ or ‘brave lion’
• draw lines, colours, shapes and images that go with the energy or
qualities which radiate from the symbol, around the symbol or move
towards the symbol
• draw lines which radiate towards or link to other symbols to depict the
energy or communication between the symbols (blank space can also be
used to represent no link or no communication between symbols)
• draw symbols according to their significance or the size of the impact or
energy engendered by looking at them
• create a map of symbols according to their spatial arrangement
• draw a face with an expression that looks like the feeling of the symbol
(particularly useful for young children)
• draw how they feel after the sandplay session – a free drawing, mandala
or image from nature
• try collage, particularly clients who feel unsure about their drawing
skills, or for whom drawing activates feelings of poor self-esteem (have
magazines available to cut from, as well as scissors, glue and a large
sheet of paper).
Other media
There are two main categories of supportive media clients can use that add
variety and choice:
• shapeable media which engages a kinesthetic quality through its use
• add-on media which is an extension of sandplay and can be used to
make symbols that are needed but not on the shelves.

Clay, play dough, plasticine

Clay or plasticine can be used as a tool by adults and children to create an object
which expresses their feelings. The process of shaping and forming the clay
allows some physical expression and release. The kinesthetic involvement
activates another way of learning and expressing what may be too complex for
rational thought. The clay is both challenging, in that some skill may be
required to achieve a recognisable outcome, and forgiving, in that it can be
remoulded many times. Clay can be pounded into shape, treated with force or
tenderly, moulded dramatically or into subtle abstract shapes. Being able to take
home the clay creation can be an important element for some clients.
Pipe cleaners
Clients can create their own symbol/figurines. Pipe cleaner figures can be
made to assume postures that reflect moods and feelings.
Collage
For clients who do not feel happy drawing, have magazines available so that
they can search for images and cut them out. These can either be added to
the sandtray or glued onto background paper. Collages can be also used in
place of completion drawings for clients who may feel the pressure of per-
formance and would rather not attempt their own drawing.
Art materials
Have an array of crayons and papers available. Pastels are best as they can be
used in a more subtle way and colours can be merged. Oil-based crayons can
also be used, as well as pencils and water colour pencils. Clients’ drawings
can be used for creating symbols not available on the shelf. They can be cut
out and placed in the sandtray. Coloured paper, ribbons, foil and coloured
tissues are all useful for supporting creative expression.
Fabrics
These can be used as backgrounds for symbol work. Fabrics are useful for
counsellors who travel about and cannot carry a heavy sandtray. It is recom-
mended that a variety of plain colours (rather than patterns) and textures is
made available. Fabrics can be used to create rivers, oceans, and deserts.
They are easily shaped and extended. The client’s choice of colour will often
be relevant to their issues or mood.
Thin strips of fabric can be used in the sandtray to great effect too. Blue satin
becomes a lake, a waterfall or a river. Gold fabric can form rays of the sun.
Alphabet letters
These can be purchased in toy shops and are very useful for creating words
in the sand or making summary statements. Initials or descriptive words can
symbolise a person within a sandplay without divulging their identity when
a client prefers to be specific rather than symbolic.
Chapter 6
Professional orientation
I must warn those of you who are therapists that the use of the sandbox is an expensive disease to
catch. Once you start building sandboxes, making shelves and particularly once you start buying fig-
ures you’re hopelessly ensnared in the joys of the playful child (and I hope not compulsive child for
your sake) who wants more and more toys, ostensibly for your patients to have at their disposal.
Harold Stone, from the Prologue to Sandplay by Dora Kalff, Sigo, 1980
acilitating sandplay and symbol work requires a positive attitude to the
F unconscious, recognising that apparent problems, reactions to issues, dif-

ficult behaviours and non-communicative attitudes are all symptoms of
some emotional healing trying to happen. This positive attitude to the inner
world includes an understanding of the healing mechanisms of the psyche
and a willingness to allow the natural movement towards healing and self-
actualisation to proceed in its own way.
The knowledge that the external behaviours, attitudes and moods of the
client are formed by their unconscious allows ERC practitioners to relax from
trying to manage behaviour or providing ready-made strategies. The impor-
tant task for counselling will be to create an emotionally safe space and
relationship that allows the client to deal with their inner world. Through this
behaviour symptoms can fall away or adapt, in line with inner growth.
The ERC style of facilitation may require at times very little verbal direc-
tion. It is built around offering a choice of modalities and support through
self-discovery questions to encourage the client’s reflection and expression.
As well as training with the techniques and practice of facilitation skills, it
is the way we are with clients, our emotional state and our ability to be
empathically present that ultimately help them feel safe enough to contact
their feelings and work through tender issues.
Our training courses aim to develop comfort with what we call creative
doubt. All facilitators, experienced or recently graduated, feel doubt about
what they should do or not do with clients at times. We generally recognise
two types of doubt:
• agitated doubt, which has a somewhat debilitating influence
• calm or creative doubt, which relates to our next immediate action but
is based on trust in the process.
Agitated doubt may be fuelled by performance anxiety. This in turn
may be connected to childhood scripts. Not knowing exactly what to do
could bring up feelings similar to those we experienced as a child. When past
80
material is activated in us it tends to blur our vision and dampen creative

problem-solving.
Calm doubt is a state that we can enjoy and use to activate our intuition.
If intuition is a coming together of our training knowledge, our feeling for
what might be helpful and our body-sense or energy-sense of what would
be appropriate, then creative doubt is the way to enhance intuitive facilitat-
ing. Creative doubt can emerge as we have more personal experiences of our
inner healer at work – as we learn to trust the process and drop our ego’s
need to be in control.
Some of the requirements for a proficient facilitator are:
• personal experience and competence with sandplay and symbol work
methods
• skill in a client-centred approach, which implies trust in the client’s inner
healing mechanisms and their own readiness to determine issues and
timing for emotional healing
• attentiveness and a sense of presence, offering empathic involvement
that helps the client to feel less isolated
• a quiet, confident, relaxed manner which supports clients in relaxing –
this relaxation can enhance self-awareness and emotional healing
• the ability to be a loving presence, patient and accepting of the client
• a readiness to recognise, accept and find support to deal with their own
issues that arise in working with clients
• a sense of comfort with the concept of ‘creative doubt’; that is, the art of
being in an alert state of not knowing what to do next but allowing time
and space for more material to emerge
• openness to encourage the client’s self-discovery with the skill to draw it
out through suitable questions
• ability to refrain from personal interpretation of the sandplay and/or
symbols
• sensitivity to clues offered by the client – for example, by the client’s
body posture, voice or facial expression and the placement or choice of
symbols – and an ability to use these as guides for self-discovery
questions and enhancing the client’s self-awareness
• an ability to gently mirror back feelings identified by the client
• an ability to gently encourage the client to stay with their feelings with-
out pushing or coaching them
• an ability and readiness to support the release of strong feelings that
may be activated during the process
• a sense of play and a readiness to suspend ordinary logic and goal-
orientation and enter the client’s world if invited
• a familiarity with the steps for integration for counselling sessions
• the skill to bring closure firmly and gently, even if occasionally some
issues remain partly unexplored or unresolved.

Basic rules and advice for facilitators

• Do not inflict your interpretations on others!
• Resist any tendency to touch the client’s symbols or invade their
work space.
• Practise letting go of the need to understand everything that is happen-
ing for the ‘client’ at a cognitive level. Struggling with the rational level
can prevent you from following the process and from trusting the
in-built guidance of the client.
The power of the symbols and sandtray to help clients remove their
masks and expose more vulnerable sides means that interpretation or
advice which defines the client or their experience can cut across the path
of the exercise. Sensitive observation coupled with self-discovery ques-
tions allow the emergence of material from within the client which other-
wise may require a more complex level of intellectual understanding,
literacy and articulation skills.
• Do not share your interpretations of what is happening with the client
while they are involved with their inner process. It is not essential for
the facilitator to understand everything that is happening or to make the
links between the symbolic level and the everyday for the client. If you
tell a client what something means:
– you could be quite wrong
– you rob them of self-discovery
– you could create an attitude of dependence in them
– the client could feel judged or overwhelmed.
Many clients need freedom from authority, freedom from having ‘to
get it right’.
• Use your ideas and interpretations to form questions that encourage and
allow the client to make their own discoveries.
• Emphasise the idea that the exercises are for self-discovery. Arriving at
a particular step in the process, feeling blocked and then needing to
explore an energy or an issue or to do deep release work is a normal part
of the process. Clients can sometimes feel that they have failed to com-
plete the task – this is most obvious in group work when the rest of the
group progress through further steps.
A client who carries an imprint of not being good enough or clever
enough or simply being ‘a failure’ may interpret changes of modality as
proof of their imprint: ‘I’m not doing it the way you wanted me to.’ ‘I’m
not doing it the way I’m supposed to.’ This is most obvious if their inner
process differs from the overview given. It is vital to uncover and talk
about any sense the client may have of expectation from the counsellor.
Responding with statements like: ‘I’m here to help you do whatever
your inner self needs to do. This is your discovery time’ – can ease any pro-
jection or feeling that the counsellor has set expectations.

• Most authors of sandplay texts reiterate the power of non-verbal feedback

– for both client and facilitator. Joel Ryce-Menuhin (1992) believes that the
act of silently looking and then intently sharing the client’s creation has
the power to bring great clarity for facilitators and client. So, learn to be
comfortable with silence, and stay focused on the client’s creation until
the picture is complete.
• If you feel inadequate or unsure – and most facilitators feel unsure often
– examine whether that unsure voice inside in any way resembles your
childhood scripts and negative attitudes about self-worth. If you recog-
nise an old self-derogatory reaction, it will be valuable to bring this to
supervision for further exploration and release.
Remember that working towards an openness in yourself, finding the
state of ‘creative doubt’, is essential for intuitive support work.
• If the client is expressing emotions that bring up discomfort or fear in
you, recognise this and consider the possibility that you may be holding
in a similar feeling. Seek supervision after the session to work on the
discomfort and fear. Through this you will further your own self-
discovery and clarity.
• It can be tempting to try to rescue clients, to take on a sense that we, as
professionals, are responsible. Note any times that you feel this, or want
to be actively involved in solving the client’s ‘problem’, explain meanings,
or guarantee completion. Consider how you can support a client to stay
with a question in a positive way that leads to further exploration.
• Symbol work, while directed, does not include making any suggestions
to the client about what feelings or motives may be inside them.
Facilitation requires that you stay alert so that you do not offer leading
questions or make suppositions that incline a client towards an answer
they think you want to hear.
For example, these are directive leading questions:
– Is that wicked witch like your mother?
– Is that lonely elephant very sad?
– Is that yucky spider making the poor little rabbit frightened?
– This puppy over here, all alone in the corner, must feel just like you.
To allow self-discovery the questions could be restated as:

– Tell me about that witch. Do you know anyone like that?
– Can you tell me anything more about this elephant? How does it feel?
– How do you feel about the spider? How would the other figures in
the tray feel about the spider?
– What do you think that puppy is thinking about? If you were one of
these figures, which one would be most like you?
Guidelines for facilitators

• Refer to the Record Form for Sandplay Sessions – Appendix III, page 117.
• Temporarily suspend all that you think you know about the client.
• Be with the client – physically and mentally, mostly silently.

• Watch the choice of objects and the way they are chosen:
– Is there any charge (strong attraction or repulsion)?
– Do they think about the choice or grab it immediately?
• Be aware of the development of the story.
• Observe verbal and non-verbal behaviours.
• Be aware of spatial arrangements of symbols.
• Be aware of how the client uses the room, the symbols, the tray(s).
• Bring a presence and a focus that will support the client to tell the story
of the sandplay and perhaps act out parts of it.
• Notice when and how the story is finished.
• Invite the client to tell the story; allow any changes or developments in
the story.
• Invite dialogue with the symbols, for example:
– the client begins to speak to each object in the sandplay – especially if
they are animate objects (animals, people)
– the client becomes each object and answers back as the object
– the client creates a dialogue between the objects and develops a story
line, possibly including themselves.
• Be open to recognising the symbolic level but do not interpret. Never
tell the client what it is all about – even if it seems very clear to you.
Insights, realisations and connections are of no lasting use unless they
come from within the client.
• Notice any apparent inconsistencies and jot down questions for later.
• Have adequate knowledge of emotional release and transpersonal
dimensions of the psyche so that clients can be supported by some
cognitive frameworks around their experience, if this is needed.
Learning to observe
The facilitator avoids giving their interpretations to the client or telling them
what they think the symbol arrangement may mean – even if the client asks.
However, what we call our ‘detective mind’ is often at work. You can learn
much about the client’s inner world by watching the sand picture emerge. In
observing it is best to play lightly with possible interpretations in your mind,
and use that process to come up with useful questions that will support the
client to increase their awareness of their own process. These are some
guidelines to focus the facilitator’s observations:
• As all symbols used represent forces within the client, see what qualities
of the item chosen relate to the client.
• Consider the meanings of the symbols:
– what they symbolise to you
– what they might mean to the client
– what their traditional, collective meanings might be
– what the client says about the items.

• Observe the placement of the objects:

– which are in the middle?
– which are at the edges?
– which dominate?
– which are separated?
– which are buried?
– which are in water?
– which are on the hills?
– which are under attack?
• Does the client work from one side of the tray, or move around?
• Sense the client’s energy, especially the bodily force while they are
choosing the symbols.
• Watch the way the client moves, the force with which the items are
placed in the sand (gently? brutally?) Is the energy aggressive? lethargic?
flowing? hesitant? Are you being checked for approval?
• Watch facial expressions, body posture, energy or mood changes as the
story unfolds and feelings begin to emerge.
• Listen for changes in the voice energy, in the emotions conveyed or held
back in the voice.
• While watching, facilitators should keep track of their own personal
reactions and assumptions, to avoid projecting their own story onto the
client’s work.
• Themes can emerge that give clear directions for future work and reveal
special needs. Some typical themes to watch for are:
• nourishment
• relationship
• family struggles
• personal chaos, conflict, disintegration
• loneliness, separation
• recognition of treasure
• self-worth
• death, fear of death, death of the old way
• order and well-being
• masculinity/femininity
• power.
• Taking apart the client’s sandtray and symbol work exercise is invaluable
in that it presents a further chance to carefully observe choice, placement
and structure. Use this step to learn more about the client and the
messages from their unconscious.
Preparing the counselling room

The environment of the counselling room is very important in allowing trust
and freedom of expression. Since many clients are dealing with emotional
chaos, some external order is ideal. This would include arrangement of

furniture and a general sense of tidiness. In the sensitive state that most
clients enter a counselling room, beautiful impressions can be very helpful.
Some ERC facilitators will spend time arranging a special place of beautiful
things, perhaps with a candle. It does not take much effort to convey the
message that the counselling room is a caring, safe and special place. At the
same time you do not want to create a static, perfect setting that would
disincline the client to feel totally free to express and create.
A sense of calm in the counsellor and in the room is important. Ideally, all
material and equipment should be ready and accessible prior to the client’s
arrival. Sometimes quiet background music will add to a sense of calmness,
although it is important to check with the client whether they are comfort-
able with music. Many young people do not respond well to quiet, relaxing
‘new age’ music.
The counselling room needs to be large enough for clients to move freely
and enter role-play exercises enthusiastically.
Integration
Allowing time for integration is an important step. Integration time supports
closure and resolution. It can involve the mind in review of the session, or a
series of sessions, and make meaning out of the personal process. The inte-
gration step may involve rest, reflection and completion drawings. In sandplay
and symbol work integration may comprise recording, photographing, dis-
cussing and thinking about the future in the light of insights from the sandplay.
It is part of the facilitator’s role to support closure within a set time frame.
Children will usually complete their sandplay and symbol work exercise well
within the sixty-minute time frame. This allows time for discussion, drawing,
role-play and preparing to leave the counselling room in a relaxed frame of
mind. Adult clients can spend up to two hours with the three-stage process of
creation, exploration and experience of their sandplay or symbol work exercise.
These are some ways to bring the session to an end and enhance closure
within the client:
• When the sandplay story or picture is complete, consider the following
questions:
– Has the action led to integration?
– Is any more release needed?
– Has the sandplay been complete in itself?
– Does the sandplay require any extension or discussion?
Resolution can take place at an unconscious level and nothing more
may be required.
• Talk about what the client sees in the objects, for example:
– qualities or traits of the objects or characters
– groupings and arrangements of objects
– relationships between the objects.

• Ask the client to tell the story. However, some clients may not wish to
and this should be respected.
• Gently probe a little deeper. For example:
– I wonder where he (symbol) came from?
– I wonder if these symbols like each other?
• Encourage expression of:
– movement (‘Can you show me how that symbol moves?’)
– sound (‘I wonder what sound it would make?’)
– emotions.
• If emotions have been triggered by the process, go with them and
encourage some expression.
• Relate the qualities of symbols to the client’s own body:
– Where would this black horse live inside you?
– Can you feel the horse’s energy anywhere inside?
• Recommend certain constructive actions, tasks and games for young
clients, such as activities that can provide an expressive, creative outlet.
• To support resolution, invite the client to spend some time:
– drawing
– journalling
– talking about and sharing the inner experience in detail
– Gestalt role-playing, to ‘hear’ inner messages from the symbols
– resting, to feel and explore the new state after the session.
• When it is time for the client to leave, the sandplay is generally not
dismantled in front of them. Clients do not usually clear away their own
sandplay, but are told that that will be done after they leave. They are
often pleased with their creation and we know that it can represent
important aspects of the psyche. So the creation, resonant with its
meanings for the client, is left intact. However, clients who have
revealed their life story or a troubling family issue may feel more com-
plete if they personally return the figurines to the shelves. Occasionally
this farewelling of the symbols occurs as an important integration step.
• There are a number of linking activities that can support integration.
Some of these may be considered if conflicts persist. Depending on the
client’s attention span and interest, the linking activities can be offered
immediately after a sandplay or at another counselling session.
Linking activities for young clients

• Children’s stories, fairy tales or myths to explore similar themes (see
Tears into Diamonds program, page 122).
• Clients can read or tell their own stories, created during the sandplay, to
others and show drawings.
• Act out or dance the story, or actions of the main symbols.
• Link body outline drawings and self-awareness work to the story, for
example:

– Where inside you would this battle be?

– Is there a treasure inside you? Where?
• Deepening the feelings of worth with visualisations and role-playing as
a hero from a known adventure.
• See also the suggestions in Chapter 5.
Linking activities for adult clients

• Journal writing.
• Exploration and active imagination using the Gestalt role-play questions.
• Drawing.
• Body focus exercises.
Evaluation, review and recording

Following are some suggestions to support the counsellor’s recording and to
prepare for client reviews:
• If appropriate, invite adult clients to write down something to remind
them of their session. Counsellors can write down the children’s stories
for them to keep, or have them write it down. Some may want to keep
the story and illustrate it later at home.
• Complete details on the Record Form for Sandplay Sessions (Appendix
III, page 117) for yourself.
• Take Polaroid photos of the sandtray and give one to the client to keep.
Some sandplay therapists prefer to use slides so that at a review session
they can be projected large to support the client’s review and analysis.
• Keep reference file of photos and reports to compare past sandplays,
particularly comparing themes and recurring symbols.
• One way to review is to invite the client to look back over photographs
and drawings from previous sandplays and make a comment on each.
They could be invited to:
– note changes, developments, recurring symbols or formations
– consider what might be the next step
– note their own inner and outer changes – link sandplay to life.
Equipment
The tray
Sandtrays are wooden and about 75 cm x 55 cm x 20 cm (outside measure-
ments) in size, although some sandplay therapists prefer a larger square tray.
We recommend and use the rectangular tray. This shape is one that seems to
reflect the inner tensions. Circular or square trays have a more equalising or
centring tendency.
Do not use particle board, as it will swell if it gets wet. Marine ply or solid
wood is best. Paint the inside with several coats of sealer to waterproof it.
Paint the bottom and sides of the tray blue to represent water or sky.
Plastic storage trays – with lids – available from the larger supermarket
chains are quite a good substitute for the wooden boxes. The lids are useful
in settings where there are pets who like to explore sand, or for counsellors
who use sandplay and may travel from school to school or from one setting
to another. Sand kept in covered plastic trays tends to sweat, so frequent
airing and reasonably frequent changing of the sand – say every few months
– is advisable.
The height of the tray can be designed for sitting or standing – whichever
you prefer. It could be on legs and castors or light and mobile. The ideal size
is one that enables the client to take in the whole tray without having to
move the head or eyes, so that the tray fits into their field of vision.
The sand
Consider your own preference: beach sand? washed river sand? Most people
prefer fine white or ‘silver’ sand. Smell it before using. Is it pleasant? Will it
evoke good memories? The depth of the sand should be about 15 centimetres.
Normally we use sand from landscape suppliers called ‘silver sand’, but
have also experimented with black sand, a loamy, brown, earth-coloured
sand, and once, by mistake, bought sand which had a small amount of con-
crete mix in it. In this last example, the sand was used in a workshop setting.
The sand was slightly moist when emptied into the tray and so overnight it
set quite firmly. The next morning a client went straight to the tray with the
concrete mix and spent the next ninety minutes crumbling bits of sand
through her fingers, reducing firm lumps to soft, flowing grains. This turned
out to be an extremely meaningful and important way for her to express
strong feelings about significant life circumstances!
From time to time it is good to sieve the sand to remove dust and small
particles that eventually accumulate.
The shelves
Clients need to be able to see all the symbols. Normal bookshelf height
works well. For younger clients counsellors may prefer shelves which are no
higher than, say, windowsill height. Some counsellors may wish to have a
small stool or step-ladder to ensure clients view the top shelves.
The symbols
Keep symbols clean, orderly and in categories. Suggested categories are:
• mystical
• religious
• the sea – fish, shells etc.
• mechanical things
• buildings
• precious stones
• household

• food
• rocks
• snakes
• horrible things
• animals – wild
• animals – domestic
• people – adults
• people – children, babies
• nature items
• fighting
• bridges, fences, barriers
• birds
• jewels
• containers
• flowers
• trees
• transport
• archetypal and mystical people, creatures and objects, for example dragons,
witches and crystal balls.
Symbols can be gathered from a variety of sources: flea markets, garage
sales, thrift shops, specialty gift shops, school fetes. Starter kits can be
ordered from the United States via the Internet (see page 124).
Jug and sprayer

The jug and sprayer are for moistening the sand so that it will hold its shape.
Many clients find the sprayer fun to use as well.
Bowls
A selection of small and larger plain white or clear bowls can be used to
make a lake or pool. Many clients try to create a lake or river by pouring
more and more water into the tray, and of course it is absorbed by the sand.
Bits and pieces

A small brush is useful for dusting the sand from the figurines before returning
them to the shelves. Some clients like to remove sand from their hands, so a
spare towel can be useful.
Quiet background music

Sometimes it seems very appropriate to use soft, relaxing background music.
Sometimes silence is best. Never use music that is suggestive of a particular
emotion. Some favourites are ‘Mariner’ by Tony O’Connor and ‘Cascade’ by
Terry Oldfield. Both of these CDs can be left to play all the way through.
Some children do not like quiet ‘new age’ music.

Drawing books and crayons

Have drawing books and crayons ready for recording and integration
towards the end of the session.
Sandplay with different age groups

While we can never expect specific outcomes, we do recognise several broad
categories that relate to a client’s age and development. Following are some
general characteristics of sandplay for different age groups.
3–5 years of age

• Dialogue is not directed but corresponds to the action of the figures.
• The child can seem absorbed totally in the action.
• There is often a lot of activity.
• The child is often happy to play with sand alone, without symbols.
• It is common for children to finish quickly and/or suddenly.
• There may be very little dialogue between the counsellor and the child.
• There is mostly an internal reorganising without outer signs or
discussion.
• The child will drop a lot of sand outside the sandtray. (Be prepared to
vacuum after the session.)
6–10 years of age

• The child makes stories with the symbols.
• The child sometimes verbalises the story and invites the facilitator to
respond. (The facilitator can mirror, rather than agree or disagree.)
• The stories come from the unconscious and so deal with situations in
symbolic form. They may be acted out dramatically like a film script.
• Situations represented in the sandplay refer primarily to everyday
current events, such as school, pets, family.
• The child may not easily make conscious connections between the inner
and outer life.
10–13 years of age

All of the above points apply to children in this age group, although from
about 11 years the scenes tend to be more static.
• The child may take great care and spend a lot of time creating the
picture, to get it exactly as they want it.
• The child is more likely to want to release emotional energy in the play,
for example roughly burying a symbol which represents an authority in
their life.
• The child may want to play out a whole scenario from their life and to
make it match the ideal they wish for.

• Sometimes when emotions are raw and strong, the child will make a
neat, tidy, beautiful sandplay. They are not ready for the raw, strong part
of themselves to emerge.
• The child may volunteer the connection with their inner life at the end
of the sandplay.
From 14 years of age

• The sandplay will often be much the same as any adult would make.
• There could be an emphasis on the emerging interest in sexuality.
• There could be themes of separation, power, futurism, relationship.
Adults
• The themes of life change, transitions, changes in sense of purpose and
direction, changes in career and relationship choices, workplace conflict
and family dynamics are explored through sandplay.
• There is some resistance to feeling.
• Adults may have forgotten or resist the value of play as expression.
• There is a sense of urgency to get over the issue and move on.
• The sandplay can activate long forgotten feelings of value, preciousness,
integrity and purpose.
• The sandplay can activate sadness, grief around past issues.
• Longed-for spiritual connections may be represented.
Contraindications
While most clients exhibit a wish to deal with their problems, a willingness
to heal and a capacity for self-reflection, there are some situations in which
sandplay and symbol work are not advised, for example if:
• the client show a strong resistance to sandplay
• the level of the crisis requires immediate action and there may be some
environmental demands on the client – sandplay and symbol work can
be introduced later in the counselling relationship
• the level of emotionally reactive energy is high, and the client needs to
proceed directly into some emotional release process work
• the client has a history of psychological instability, that is periods of
hospitalisation for acute mental disorders
• the client has an active addiction and has not yet sought appropriate
support for that addiction
• the client clearly exhibits an inability to differentiate between the sym-
bolic world and reality, that is the client’s ego-boundaries are absent (the
distinctions between the inner world and the outer world are not clear)
• the vast choice of objects and the sense of freedom seem too threaten-
ing, as may be the case for some hyperactive clients – in this case limit
the work to one or two symbols at first.

Some developmentally disabled clients will not respond well to sandplay.

This approach would be of benefit after they have had extensive time with
other modalities (see De Domenico, 1988).
Sandplay and nature

If you watch children play on a sandy beach you can see the joy, the relax-
ation, the freedom and the interactions involved in the sand creation, as well
as in the destruction. Many children exhibit an in-built ability to resolve and
release issues through play, particularly on the beach. However, we see many
clients, both young and old, in the counselling room who, due to trauma or
neglect, seem to have lost this ability to use play therapeutically. The sand-
play sessions can quickly help reactivate these abilities.
Symbol work can be conducted informally, using objects from nature, in
a way that supports expressive play and provides a client with opportunities
to communicate outside the formal setting.
The beach
Beaches contain all the essential ingredients of sandplay and symbol work:
sand, water, symbols – nature provides these generously. Outdoor work and
group work at the beach, preferably an isolated or deserted beach, can be
beneficial towards the end of a client’s process. At the beach, work with
whatever you find. Take a walk to collect objects such as sticks, driftwood,
stones, shells, coral, leaves, seaweed, grasses, bones and debris, then settle in
one place for focused play.
Create a boundary for the sandplay by inscribing a rectangle or circle in
the sand, or by shaping edges to the work space in the sand. Clients make
sand formations, castles and landscapes, and play with channelling the
water, creating dams and rivers, and protecting against the waves.
Collecting shells and driftwood can be a fun, all-consuming activity for
some. Walking on the beach looking for objects can be a focused time when
discussion of important issues emerges naturally. The walking movement
can support the inner movement of the psyche. Collecting in itself can
arouse a sense of wonder – something has been washed up from the depths!
Some shells seem to contain mysteries; their shapes and colours can evoke
or activate imagination or imaginative play. Some driftwood transforms
itself into mythical creatures as you look.
Images of nature
Aspects of nature can be used in counselling work as a metaphor for symbolic
expression, for example in active imagination, self-descriptions and artwork:
• weather: hot/cold, stormy, sunny, cloudy, windy etc.
• animals, birds, fish or insects
• the plant kingdom: trees, flowers, grasses etc.
• landscapes: jungles, deserts, tropical islands, grassy plains etc.

In the garden, park or bushland you can:

• collect flowers, blades of grass, fallen twigs, pebbles etc.
• prescribe a work space with twigs or lines in the earth
• arrange what has been collected as you would in a sandplay or symbol
work session – the unconscious is always at work eager for a chance
to express.
Using symbols in professional supervision

Rather than simply talking about strategies with clients and our problems
and responses to clients, symbols can be used to allow our own deeper
wisdom to emerge. In ERC supervision is defined as both discussion of client
work and personal development. So often we find that when we deal with
an issue internally, the client no longer represents a difficulty, and creative
new ways forward emerge with ease.
Following are two exercises using symbols that we have found very sup-
portive in our supervision with colleagues.
Symbol work exercise for supervision

Unearthing problems, acknowledging success
1 Draw a large oval on a large sheet of paper or in the sandtray. This oval represents
you.
2 Reflect and then select symbols that represent:
• the positive qualities you have that enable you to support clients
• the blocking or the cause of the blocking (if it is known) of the free expression
of any of these qualities
• the areas of your work – or any particular clients – that make you feel anxious,
or about which you need to learn more
• recent times in your work that were most satisfying.
3 Arrange all the symbols in and around the oval in a way that they relate to each
other. Talk about your arrangement as you do it, if you wish.
4 As you arrange them, consider:
• which ones are close together
• whether any are facing towards each other or facing away
• whether any are dominating
• whether you notice any repeating patterns.
5 Where are there challenges that need further investigation?
6 Are there any positive elements which could be celebrated?
7 Use the symbol picture to draw out further discussion and delineate areas where
guidance and possibly further exploration is needed.

Symbol work exercise for supervision

Understanding difficult clients
1 Divide the sandtray in half. One half is designated ‘me’, the other ‘the difficult
client’.
2 Select symbols that represent:
• the client’s most difficult characteristics
• your own difficult characteristics
• the changes you would like to make in the client
• the changes you have wanted to make in yourself
• the main similarities between you both.
3 Select the symbol with the most energetic charge from each half of the sandtray,
then discuss it.
4 Role-play using the symbols (see page 116).
5 Formulate and/or write a summary statement giving some of the reasons for the
supervisee’s reactions.
Note: New strategies can be formulated when any emotional reaction to the client
has been dealt with.
Getting started with sandplay –

a six-point plan
1 Experience lots of it yourself. Engage in as many sandplay and symbol
work sessions as you can, with a qualified counsellor, for your own
exploration and development. Even though we have emphasised that
facilitators should be non-interventionist and non-intrusive, and trust the
client’s innate healing mechanism, this does not mean that sandplay and
symbol work require very little apart from enthusiasm and a basic
understanding.
2 Undertake a training course with acknowledged professional trainers.
This will deepen your understanding of the mechanisms of the process,
the world of symbols, the process of transformation and the phenom-
enon of healing.
3 Read relevant respected texts (see page 120). Although sandplay is not
something you can learn from books, discussion or lectures, reading
about the discoveries and experiences of others can amplify and shed
light on your own experience.
4 Begin your own figurine collection. Raid family toy boxes, spread the
news through your extended family, scour discount shops, charity shops
and Sunday markets.
5 Buy or build a sturdy sandtray. Find some washed river sand, usually
available from landscape suppliers and some hardware stores.
6 Secure access to qualified supervision. Ongoing supervision with an
experienced sandplay and symbol work therapist is essential. Some
issues within you may only emerge after you have the experience of

supporting others in your own work space. It is a normal response to

have reactions about giving to others and to have aspects of your story
activated by the stories of clients. These experiences simply need to be
worked on regularly within individual or group supervision.
Advice for parents of child clients

Parents who are willing to make the effort to gain counselling support
through sandplay and symbol work frequently ask if there is more they
could do at home to support their child.
Most parents who bring their children for counselling are already feeling
stressed by some interpersonal or behavioural problems in the household. In
offering advice it is essential not to add to the load of stress. Many parents
carry – recognised or not – some guilt about their parenting skills. We try to
give positive actions rather than suggesting that any areas may not be ade-
quately attended to.
There are ten suggestions that we offer parents.
1 Validate children’s feelings

The first and most important gem of advice – that often seems revolutionary
– is to validate children’s feelings. This is not to be confused with allowing
the child’s feelings to dominate family decisions or for them to be dumped
on family members. It is simply letting the child know that you are really
hearing both what they are saying and what they are feeling, even if they
may not be fully aware that they have activated feelings.
Many of us have been brought up in an atmosphere where feelings had to
be denied, or where they were belittled or modified, or where the response
to feeling was to create some distraction. The idea here is simply to ack-
nowledge what the child is feeling, without any immediate effort to do
anything about the feeling. Often feelings will release or complete them-
selves if given acknowledgement.
Advice
• Regularly ask about their feelings.
• Listen to their feelings.
• Acknowledge when their feelings are showing.
• Accept their feelings.
• Don’t make them hide their feelings.
• Don’t try to change their feelings.
2 Respect the impact of childhood scripts

Childhood scripts are a collection of unmet needs, incomplete feelings and
disappointments from the past, as well as learned behaviour patterns.
The past is often activated by a trigger. The child experiences present feel-
ings and past reactions at the same time. A ten-year-old may have a hurt

three-year-old inside – just as a forty-year-old may have an emotionally

wounded six-year-old calling for attention inside.
This concept helps us understand ‘over the top’ reactions in children. The
present reactions also activate the past reactions – which have been stored
up inside. So know that your child may be hurting when behaviour is
very reactive.
Advice
• Like us, children too can have a wounded, needy part. Observe what
triggers this part.
• Reactions are to do with the present and the past. Explore ways to help
children feel and release the hurts of now and then.
3 Practise active listening

In conversation make an effort to really hear what children are saying about
their feelings, rather than simply following the events of what they are saying.
This is called active listening. Don’t immediately try to fix up the problem or
distract them from any difficult feelings. Acknowledge the feelings you hear.
This helps the child become more aware and communicate more accurately. It
means that you are:
• really hearing and acknowledging them
• allowing their feelings
• valuing them and their feelings.
Their need for these three things is greater than their need to feel better
immediately. Our children then learn by example to hear, allow and value
themselves.
Advice
• Listen for the feelings in what children say.
• Try not to interrupt.
• Relax yourself as you listen.
• Remember as you listen how important your child is.
• Realise that ‘now’ is what is real to them.
4 Organise more expressive leisure activities

Children need more time to express and release the burdens of the day. In
the normal development of a child there is a growing ability to cope with the
stresses that come from the world around them by expressive play. Some
children spend many hours in front of the television or computer. Apart from
the quality of the shows that are presented, consider the act of watching
itself: external stimulation comes to the child, so no release is possible.
Expressive activities are ultimately more relaxing.

Advice
• Suggest that children do not watch TV straight after school, or for too
long without some exercise.
• Support children to play and express. For example, build a sandpit and
provide toys, rocks, sticks, water etc. to use in it.
• Encourage children to take long baths with lots of toys, dolls, containers
etc. so that they can play.
• Give children time to play or communicate before bed, for example by
drawing, colouring in, cooking, room-rearranging, listening to music,
playing music.
5 Encourage children to talk about dreams

Listen to your children talk about their dreams. Dreams are a means for our
unconscious to reveal, and deal with, what is happening deep inside us.
Dreams can be more vivid after sandplay work. Help children by encouraging
them to record their dreams either through writing or drawing. Encourage dis-
cussion and questions about their dreams without interpretation.
6 Pay attention to and explore the meaning of aches

and pains
There is often emotional pain underneath physical tension or physical pain. By
placing your hand on the part of your child’s body that is tense or painful, you
can support them in focusing within. Encourage them to take deep breaths.
The breath will help them to connect to the underlying emotions. Ask a few
simple questions of the pain to help it resolve, for example:
• Are you deep inside or near the surface?
• How big or small are you?
• Do you have a colour?
• Do you have a shape?
• Did someone cause you to be there?
• Is there anything more you would like to tell us?
The child then does a drawing of how the pain or tension felt (see
Emotional Release for Children, pages 109–110).
7 Support emotional release

When a child is greatly upset, provide drawing pads and crayons. Suggest that
they: ‘Draw this big feeling on the paper. Use lines and colours to show what
it looks like. How many pages or pictures does this feeling want to draw?’
Provide large cushions for anger release. ‘I know you feel like hitting your
brother … but hit the cushion instead.’
If they seem disruptive or destructive, give them options for release. Let
them know what they can do, for example ‘You can draw all this feeling out,
or hit the cushions or jump on the trampoline, or go for a ride on your
bike …’ Encourage this feeling to express until the release is complete.

8 Provide integration time or integration activities

after upsets
After an emotional upset allow some quiet time for children to be still with
themselves. They need time to integrate, to let go of what has been hap-
pening. This can be helped by:
• drawing (have paper, crayons available)
• taking a long hot bath – with lots of toys
• playing in a sandpit or digging in the dirt
• private journal writing (more so for older children)
• talking – be available in case they want to open up with you, but never
insist that they discuss their feelings.
9 Enjoy massage games within the family

Give foot, face, scalp or back massages to children, particularly at night before
bed. This is often better than telling stories and helps them feel loved and safe,
and to relax and sleep well.
Massage games
• Shapes and letters on the child’s back.
• Storytelling with actions on the back, shoulders and arms.
• Light stroking.
10 Address parents’ needs for their own personal

development
It is quite normal for parents to need to make use of some professional
support to deal with the emotional stresses of parenting. Dealing with your
own internal problems is also helpful to your children. After experiencing
and understanding your own emotions more fully and possibly dealing with
your own inner hurts, you are more able to understand your child’s behav-
iour and support their positive emotional growth. Learn how to feel positive
about yourself so as to be a good model of self-esteem.
Advice
• Get comfortable with your own feelings.
• Begin to heal your own hurtful childhood scripts.
• Get help to deal with any negative reactions to your children.
Training
As well as gaining a conceptual overview, understanding the equipment, lis-
tening to case studies, understanding the role and methods of the counsellor
and observing clients, there is nothing that can replace personal experience
of the processes. A minimum of five free sandplays, along with supervised
experience of the major symbol work exercises, is essential for gaining

understanding and confidence with the inner workings of the process. To

competently offer self-discovery questions rather than direct the process or
explain it to the client, the facilitator must know from personal experience
that this is the most empowering approach. Personal experience with quali-
fied facilitators supports the practice of being quiet, and feeling the shift
within the consciousness from needing to interact, interrupt, interpret and
direct, to allowing, accepting and encouraging.
The depth of sandplay is not quickly and easily learned. Without adequate
preparation for supporting clients in this way it is easy to miss the chance
sandplay offers for deep connection and integration within the client.
Being comfortable with silence – often essential for clients to integrate,
assimilate and reach new insights – and being in a watchful yet relaxed
mood to allow time for the story or feelings to emerge, is learned when the
student explores sandplay and symbol work in the client role.
Since sandplay and symbol work is effective on many levels, it is possible
that a caring counsellor, in the early stages of training in sandplay, could sup-
port a client to achieve some clarity or emotional benefit. However, since the
early stages of sandplay can sometimes dredge up issues, feelings and energies
from deeper in the psyche, it is ideal that the counsellor or therapist is capable
and confident in providing the free and protected space to support this.
Ruth Ammann (1991) points out that the counsellor has a responsibility to
undertake adequate training before taking a client into a process which may
appear superficially simple. It could be like expecting to be able to join the
Olympic rowing team simply because you have read about rowing or watch-
ing others row, but not having had the personal experience. Ryce-Menuhin
(1992) claims that ‘the experience of the sandplay process on a personal basis
under the guidance of a qualified sandplay therapist is fundamental and
required of all persons wishing to train in this field’.
In this approach the counsellor is not ‘doing something’ to the client. For
effective transformational and healing work, the counsellor needs to be able
to ‘not do’. Traditional counselling training provides a counsellor with things
to do, things to say and different ways to intervene, and may deal primarily
with the ego level of consciousness. We have found that it is the trans-
formational effect of learning by doing our own sandplays and pursuing our
own personal development that forms a solid background for the new sand-
play skills. The experience of a non-judgemental space, of the feeling that it
is safe for our depths to emerge, prepares us to work with others. This way
of being both with our own inner process and also with a client can only be
gained through personal experience and practice over time.
Personal experience can prepare and hasten a paradigm shift in the trainee
sandplay counsellor. This shift is based on personal trust in the in-built heal-
ing mechanisms of the psyche. Experiences of this mechanism at work inside
the counsellor help the development of trust within the client.

Conclusion
One of the aims of this book has been to counteract the impression that
sandplay is an unscientific, unresearched phenomenon which has little or no
clinical basis. At the same time we’ve tried to share our enthusiasm for the
non-interpretive, client-based approach, essential for the successful use of
sandplay. Although there has been much research into sand and symbols, the
way is still open for more discoveries about its application.
There are more applications for the use of the symbols than we’ve been
able to discuss in this book. Some are in development and still untested,
some are being introduced informally in educational settings, personal devel-
opment programs and in individual counselling sessions. Outside the for-
mal counselling context, we know of the use of symbols in the teaching
of creative writing, the development of literacy and verbal expression in
schools, and the resolution of workplace conflict.
We hope this book will encourage therapists to explore further possibili-
ties for symbol work exercises, while never neglecting the power of Dora
Kalff’s original undirected work in the ‘free and protected space’.
Quite rightly, there is today a requirement of solid research into the effec-
tiveness of therapeutic interventions. Further research into the effectiveness
of using sand and symbols as compared to other counselling models would
be valuable. Most of the research into sandplay has been qualitative and
primarily supported by case studies. While there is research evidence that
cognitive/behavioural therapy (CBT) leads to positive results, we are not
aware of any longitudinal studies comparing gains made using CBT with
gains made using sandplay or ERC.
The extensive body of sandplay literature confirms our own clinical
observations over the last fourteen years: that it has in most cases both short
and long-term benefits in terms of positive behaviour changes and sustain-
able emotional well-being.
Part of the value of including the use of symbols in educational programs
is that it facilitates a positive shift in attitude and a clarifying of cognition –
101
both important steps in the successful application of contemporary behaviour

management approaches. We have seen that sandplay and symbol work aid
metacognition – thinking about thinking – so that a client can think more
clearly and make more rational choices. What may appear at first – to those
not familiar with sandplay – to be a largely imagination/emotion-based
approach frequently brings results aimed for by cognitive and behaviour
management approaches.
At the time of going to press, Mark is researching the opinions of school
counsellors and guidance officers in Australia who have trained in sandplay,
on the application, efficacy and outcomes of using sand and symbols in
school settings. The authors welcome any feedback in this area.
Sandplay and symbol work are swiftly growing in popularity in
Australian educational, counselling and social work settings. We hope that
this means a continuing increase in the numbers of therapists, counsellors,
educators, community workers and decision makers finding their way to
recognised sandplay training courses. Unfortunately, we hear of many coun-
sellors who attend a one-day introductory workshop and believe that is all
that is required to use these techniques. We cannot overstate the need for a
counsellor to undergo a large number of their own sandplay sessions, with
supervision, in order to understand the power and logic of the techniques.
Many adults attending our personal development workshops or partici-
pating in our Diploma course find that they gain a good deal of clarity
around their own spiritual questions. It seems to be a feature of the sand and
symbol work that spiritual needs, qualities and directions easily emerge.
There has been a cultural shift over the years we have been using these
methods which has legitimised the search for spiritual understanding outside
organised religious settings. Sandplay does help people define their personal
and collective spirituality, and clarify their own path of development.
The authors do not regard either sandplay or symbol work as do-it-yourself
tools for the healing journey. No matter how skilful we are, we cannot facilitate
or act as our own therapist. We can observe our own psyche and its process of
growth, but lasting change and effective reconstituting of imprints in our
psyche cannot be achieved from an ego level of awareness. We recommend
you seek qualified support in using sandplay or any of the methods described
in this book.
It is now ten years since Dora Kalff’s death. The International Society for
Sandplay Therapy will publish a commemorative edition of the Journal of
Sandplay Therapy, reviewing the development of sandplay around the world
in the last ten years. It is good to know that Australia, which was formerly
considered by the international sandplay community to be ‘in the dark’, has
over the last decade stepped out from the shadows.
Helen Wilson
Mark Pearson
Turnaround Training Centre – Brisbane
May 2000
Sandplay stories
William – aged 7 years

William’s parents separated when he was quite young. When he was
referred for counselling he was angry, not achieving well at school, and phys-
ically and verbally abusing his mother. He had begun to damage household
property during his angriest outbursts. The relationship between William’s
parents was extremely brittle. His father had remarried and William’s pres-
ence was not welcomed by his stepmother.
On his first visit William stated quite firmly that part of the problem was
that he was a very creative person. His first sandplay (shown in part in photo
1) encompassed two sandtrays and the entire therapy room. The scene
depicted a huge battle between two opposing forces with a great ocean
between them. Time was imperative and William kept saying that there was
not much time before everything was going to be blown to pieces and every-
one would die. He outlined the nature of the war that was raging – there
were no good guys or bad guys, just killing and fighting. What were the two
sides fighting for? He said that each one believed they should own all the
land and wanted to drive the other side out.
After completion of the sandplay and the strategic placement throughout
the room of troops and weapons, William was asked which of the symbols
he felt was most like him. He chose a small aeroplane which he described as
a ‘bomber’ which flew over the whole battle scene dropping bombs on
everything. William then picked up the bomber and ‘flew’ it over the entire
scene, swooping, diving and making bombing noises and repeating, ‘Quick,
there’s only a few seconds left before the whole world gets blown up’,
‘Quick, everything is going to be blown apart’.
This sandplay was a typical reflection of the first stage of the sandplay
process – the chaos stage. It clearly indicated the inner and outer battles in
William’s life. The whole of his psychic ‘landscape’ was at war and if help
didn’t come then total destruction would result. He was restless, his energy
was urgent and yet he had a very clear ability to depict the inner forces.
103
William’s second sandplay (photo 2) still reflects a scene of chaos and

struggle. Again the scene created was a battlefield with opposing forces.
Again the scene filled two sandtrays, but this time only part of the therapy
room. Now the forces were battling over hidden treasure. William’s energies
were beginning to focus and not take up so much of the emotional and psy-
chological space in his life. He had begun the search for the ‘jewels’ of his
own psyche. At this stage his mother reported positive improvements in his
reading ability at school.
William’s third sandplay brought with it a sense of growing order. Battling
forces were still fighting over hidden treasure. In the week since William’s last
visit, seeds from the grasses he used in the sandtray had sprouted and small
living grass stalks had emerged from the sand in the tray. When the tray was
wheeled out William was amazed at what had taken place. He carefully
removed each one of the grass seedlings and put them aside. The battle scene
was then created and war raged. At the end of his sandplay William removed
all the symbols and gently replanted each one of the grass seedlings. His grass
patch sandplay is photo 3.
The next session involved a jungle scene in which the gorilla was very
angry (photo 4). There was a tiny bird’s nest carefully placed in a tree. The
nest had tiny pearl eggs which William placed in there. The scene in the tray
contained living representations of nature rather than the harsh, deadened
depictions in earlier trays. Instead of collecting dead grasses from the garden
and bush, William chose green leaves and branches of trees. After complet-
ing the sandtray and talking about it, William went to the place where he
had hidden the treasure in the therapy room. He then carefully placed the
treasure at regular intervals around the edge of the sandtray.
William’s next sandplay reflected significant change. The scene (photo 5)
was a nature scene. Each tray had a number of serpents either in the tray or on
the edge of the tray. There was an eagle in the lower right-hand corner, a
dragonfly, a dinosaur, a butterfly in the extreme top left-hand corner and a bird
in a tree in the mid-left-hand side. The gorilla was placed under a canopy of
yellow flowers and there was a dinosaur in the left-hand tray also. William
described the pine cones in the sandtrays as big buildings. He hid the treasure
in another part of the therapy room but this time, instead of putting a He-Man
action figure on guard, he put a skeleton. Perhaps this skeleton was a symbol
of the death of the need to be like a He-Man to guard his inner treasure.
Outside the tray William described the floor as a dangerous ocean in which he
placed a hippopotamus, a lobster and other dangerous sea creatures.
William’s sixth sandplay (photo 6) showed a calmer, more reflective scene
– a central lake, trees animals, insects. It also contained a leaf from a lily pad
gathered during a nature walk we regularly took before commencing the
sandplay. William christened these nature walks his ‘walk on the wild side’.
The walks become symbolic of his journey. Elements of his emerging mat-
erial which could not be acted out in the confines of the session room were
acted out in our large bushland garden. Initially, many ‘enemies’ were spotted
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Photo 9
Photo 14
Photo 16
Photo 13
Photo 15
Photo 18
Photo 20
Photo 17
Photo 19
Photo 22
Photo 24
Photo 21
Photo 23
Photo 26
Photo 28
Photo 25
Photo 27
Photo 30
Photo 32
Photo 29
Photo 31
and killed; ‘danger’ lurked behind every clump of tall grass and in every tree.
There was a huge excitement about exploring the garden, but fear of what
we might find – spiders, toads etc. Finally, during one of our regular walks –
the one in which William collected the lily pad for his sandplay – he
reported to his mother that we had been on a walk ‘and we didn’t need any
guns’. It seemed that life and the world was becoming far less dangerous and
threatening to William.
In the sandtray William had been able to express the chaotic conflict
inside of himself. Each sandtray brought about an easing of the tension about
how he experienced the world – a re-focusing of the lens through which he
viewed life. By the time William’s last sandtray was created his academic
performance had improved dramatically, work in remedial classes had
reduced significantly and the hostility in his relationship towards his
mother had eased. Their connection has become more open, more commu-
nicative and his behaviours less abusive towards her. Sadness and frustration
at the changed relationship with his father remains unresolved at this stage,
but when returning from access visits he can now verbalise his hurt and
anger rather than internalising it and acting it out on his mother or school
colleagues. William is now much gentler on himself and no longer strives to
portray a tough guy image. His creativity is now finding new channels for
expression – his ‘walks on the wild side’ continue but we now occasionally
go armed with a camera instead of guns. An interest in both nature and
photography has replaced the fear of hidden dangers in nature and the need
to constantly be on guard against ambush.
Cassie – aged 6 years

Cassie was just six years old and living with her maternal grandparents after
being assessed as a child at great risk and removed from her mother. At
school each day she spent a lot of time crying without being able to verbalise
her upsets. On her second visit Cassie did a sandplay (photo 7) and built a
scene of a frozen world. This world was a land of ice and snow where every-
thing entering it died ‘because it is so cold’. She told me that nothing could
survive in there. There was a little girl, her father, a mother, some dolphins
and fish. Significantly, prior to putting any of the symbols in the tray Cassie
marked out a cross in the centre of the sand. In this session Cassie was
unemotional, detached, cold and seemed quite frozen in her relationship
with the world, with her grandparents and with the therapist.
Cassie’s next sandplay (photo 8) showed a very different world. In this
sand picture the central theme was a little girl who had ‘found a path home
to mother’. There was danger in the ocean and Cassie said that she would
not go near the ocean (the turtles were dangerous she said). In the top right-
hand corner was a woman who had to travel across a bridge to reclaim the
treasure but had first to get past a person holding a ‘Stop!’ sign. Cassie’s pic-
ture carried the message that there were some frightening things that she
didn’t want to face at this stage (the turtles in the ocean) and there was hope
in finding a path back to her mother. As well, there was a treasure to be

reclaimed. The lighthouse in the top left-hand corner remained unexplored.
Cassie’s third and final sandplay (photo 9) was, she said, a funeral. But it
was a happy funeral. Two people had died and been buried, but friends came
to wave goodbye and there were lots of flowers. In this sandplay, the final
symbol to be placed was the circle of silver beads. Placement of the beads
made a mandala-type picture which had a very calming effect on Cassie. The
final picture depicted a more centred, calmer state. The funeral seemed to
represent an end to tensions and fears in Cassie. After completion of this
sandplay Cassie began to talk more openly with her grandparents about
some of the trauma she had experienced; she was able to share her fears of
the dark and her nightmares.
Barry – aged almost 10 years

Barry came for just one sandplay session. On arrival he was hostile and
resistant to speaking or coming into the therapy room. Eventually he looked
inside the door and saw a sandtray with a completed sandplay and asked if
he could do ‘some of that stuff’. He created the scene in photo 10. During
the session Barry said very little. Despite the chaotic scene which he crea-
ted, he placed each figure with care. His only comment was that ‘everyone
is at war ... everyone is fighting and being killed’.
Barry’s parents had separated a few weeks after the birth of his second
sibling. His father had since remarried and had a child with his second wife.
His mother was feeling very stressed with other younger children to care for
and was still experiencing grief and shock from the separation and divorce.
Barry had had a very close relationship with his father prior to the separa-
tion – they had worked on many projects together and had lots of times of
rambling and camping together. Since the separation Barry had seen his
father only occasionally. At the end of the session Barry stood up to leave the
therapy room. As he went to walk out he spied some colourful glass balls on
the treasure shelf. He picked up five of the glass balls and a small handful of
coloured glass ‘wishing stones’. He threw the balls and the wishing stones
into the tray and said ‘There! Now I’m done’ and left the room.
Jason – aged 11 years

Jason lived in substitute care and was not thriving. Quite a few of his care
placements had broken down because of his behaviour. His current place-
ment was also at risk. His mother had committed suicide and his father had
remarried within a short space of time after Jason’s mother’s death.
Christmas was approaching and his perception was that he would not be
permitted to rejoin his father and two siblings for Christmas unless his
behaviour improved and unless he could prove he could be responsible.
Jason’s first sandplay (photo 11) involved the creation of a mountain with
a king on the top. The king had lots of guards around the base of his moun-
tain but these guards were fighting each other. There was a tiny black cat in
the top left-hand corner of the tray. This represented Jason’s real-life cat. He
expressed a lot of love for his cat and talked about his joy in caring for it.
There were rocks in the sandplay which Jason described as ‘doorways to
underground caves in the mountain’. After the sandplay was completed Jason
was asked what was in the underground caves and the answer was ‘treasure’.
Jason then did a role-play exercise, becoming the King of the Mountain.
The ‘King’ furiously poured molten lava down on all the ‘morons’ and
‘idiots’ below. After this sandplay Jason went for a swim and began to speak
freely about difficulties he was having with his substitute care situation. He
felt discriminated against in the foster household but felt powerless to say
anything or do anything. He also spoke freely and clearly about what he felt
he needed in his relationship with foster parents.
Jason’s second sandtray (photo 12) was a minefield created during a session
in which he seemed very flat, depressed and unhappy. Christmas was getting
closer and the hope of spending Christmas with his family seemed a remote
possibility now. In this creation Jason took great care to make many holes in
the foreground of the sand picture and then carefully chose the symbols from
the shelf. He chose three very angry symbols, three very sad symbols and
three symbols which he said went with the panicky feeling he gets inside. He
then chose a fabric sand-filled lizard because it reminded him of feeling very
strong and good about himself. He also chose a cat symbol because it was
beautiful like his real-life cat. Jason did not place all these in the tray. He chose
one from each category – a spider, a purple doll, the cat, the sand-filled lizard
and a radio. These symbols were placed in the minefield. The radio didn’t
care if it was going to be blown up because it had no feelings. The spider was
afraid that it wasn’t going to make it home because it had so many legs and
therefore knew it could not avoid being blown to pieces.
The purple doll ‘wanted to die anyway because it was in such pain and
wanted to go to heaven where it would be out of pain’. The sand lizard
knew that it would probably be blown up but felt helpless – it couldn’t stop
it happening. The cat could see home from where it was in the minefield,
but wasn’t sure that it could make it home. The purple doll was the first to
‘fly’ out of the minefield. God had seen the pain it was in and had decided
that he (God) did not want this doll to die and performed a miracle so that
it didn’t step on any mines. The radio was blown up – it didn’t really care.
The spider made it through the minefield because its legs were so thin that
it was able to walk carefully. The spider was happy then. The sand lizard
made it through the minefield, but a land mine exploded right at the end and
damaged its tail. The cat made it through the minefield because it was able
to walk very gently, as cats do. Those that made it through the minefield
went to grateful, happy homes.
James – aged 14 years

James was struggling to embrace the internal shifts from childhood to adoles-
cence. In addition, his parents had separated some three years before and the
separation had come as a shock to James. He had enjoyed a good relationship

with both parents but when they separated he felt a responsibility to stay with
his father because his father would otherwise be too lonely. His mother had
moved to another city and contact with her, although regular, was not fre-
quent. In his first session James was reluctant to talk about his life or to express
anything about what he wanted or how he really felt about the separation. He
created the sandplay in silence and relayed the story afterwards (photo 13).
This, he said, was a land where animals had humans as pets. There was a
cheetah taking a human for a walk on a lead in the top right-hand portion of
the tray. There was ‘a land where pigs had parties’; the elephants were head-
ing home and there was a God in his boat on a beautiful lake. James identified
the most important part of the sand picture as the ‘burial ground’ in the cen-
tre. He said that the glass stones were not colourful enough and he wished
there were brighter colours.
In his second sandplay (photo 14) the central burial ground appeared again
but this time James used natural stones and a native mask. The sandtray con-
tained many archetypal symbols, Excalibur, the eagle and serpent, four
Chinese wisdom figures and quartz crystals – all placed with care and preci-
sion. James left this sandplay session without comment.
James seemed to be working through issues of establishing his identity,
finding his ‘new land’ without home and family the way it used to be. His
sandplays reflected elements of change, death, new life and a strong con-
nection to an inner spiritual strength and sense of order.
Veneta – aged 15 years

One week after Veneta’s fifth birthday her mother suicided. Three months
after her seventh birthday Veneta’s father committed suicide. Veneta’s
remaining family was a sibling just two years older than her as well as mater-
nal and paternal grandparents. The families had become hostile to one
another and there was a breakdown in the normal family caring arrange-
ments. Veneta and her sister were moved interstate to live with relatives.
There she became depressed, the living arrangement broke down and Veneta
was eventually hospitalised in a psychiatric unit for a brief time. Her prog-
nosis for the future did not look promising. She had been assessed and was
classified as at risk for potential suicide even though this was assessed as a
low-level risk.
Veneta’s experiences left her highly traumatised. She felt that there were
times at which she become physically, emotionally and verbally paralysed.
Sandplay was offered but Veneta was initially reluctant to engage with the
sand and symbols. Instead she created ‘worlds’ and action, to help integrate
her experiences, in the many stories and poems she wrote during her time in
therapy. At one point in her therapeutic work she used plastic letters to spell
out a message in a sandtray. The message was ‘spread your wings and fly’.
Finally Veneta asked if she could do a sandplay (photo 15). This was an
important step because she had identified a therapeutic technique that she
wanted rather than going along with something offered to her. The scene cre-
ated showed a winding road with bridges. The road began with mediaeval
knights battling each other. The next step on the road showed a jungle. An
angry ape could not fit in the jungle so had to be placed on its own in the top
right-hand corner of the tray. Leaving the jungle, an alien stood by the side of
the road. Next there were crashed cars – one was overturned. The next point
of interest on the road was some small bottles and an upturned cup. These
represented alcohol and drinking alcohol. Veneta talked about this road. In
summary she said it was how she felt – it all starts with the fighting, every-
body’s fighting, then she feels angry, then she feels like an alien, things crash
and ultimately she wants to drink and get drunk. The sad dog in the middle
of the tray was ‘just a sad dog sitting by the side of the road’.
On her next visit Veneta drew a happy face in the sand (photo 16). She
chose three symbols but after choosing she said they could not go in the
sandtray because ‘they just don’t belong in there with the happy face’. She
explained the three symbols (photo 17) as the part that wants to
control everything (man in black suit and bowler hat), the part that wants to
have fun and be silly (reclining elf) and the part that was hopeful (star – care-
fully placed by Veneta on elf’s shoulder).
The next session (photo 18) brought a sandplay which showed hope for the
future for Veneta. In the tray she created two scenes. On the left-hand side was
herself as a child. Her mother was the pink fairy figure in the middle of the tray.
This side of the tray she identified as her life as a child. On the right-hand side
Veneta placed symbols of people with disabilities. She said this represented the
people she was going to help when she grew up – people like herself who were
hurt. In the foreground she placed a golden sailing ship and on the top mast she
placed a small human figure with a telescope. Veneta explained that this was
herself sailing towards an unknown future but looking ahead to it.
The next sandplay (photo 19) showed a tree in the top left-hand corner
representing a tree Veneta had planted to commemorate her mother’s birth-
day. The cross and child in the middle represented the death of her mother.
The figures in the lower left-hand corner represented herself and her moth-
er. Behind the cardboard ‘screen’ symbols were placed for all the things
about Veneta which her mother would now not be able to take part in – her
first boyfriend, her graduation from university and her wedding. Veneta had
asked for a screen which could not be seen through and so chose the piece
of cardboard to state the fact that her mother would never see Veneta’s life.
The angels placed throughout the sandplay were the angels Veneta felt were
watching over her as she went through life.
At the time of this publication Veneta continues to work with the thera-
peutic process and her journey, using sandplay and ERC. She is a strong,
bright, energetic young woman whose wish is to help young people, like
herself, who have to face, overcome and integrate trauma.

Nathan – aged 11 years

Two of Nathan’s sandplays carried themes of chaos and destruction (photos
20 and 21). He presented as an emotionless, disconnected young person. The
issues which brought him to sandplay and symbol work therapy were
parental separation several years prior, physical aggression with two
younger siblings, verbal abuse of parents, unwillingness to cooperate with
parental requests and inappropriate responses in the school setting. Nathan
worked well in the sand and created complex scenes of interaction.
Immediately after telling the sandplay story he would enact sudden and
absolute destruction of the whole scene. Everyone was killed off, everything
was destroyed. Among the symbols there was always an authority figure
(identified by Nathan) who had ordered the killings and destruction for no
apparent reason, but then this authority figure would also be killed because,
according to Nathan, there was an unknown, even higher, authority figure
behind the ‘boss man’.
In his next sandplay (photo 22) Nathan chose two alien figures as the
central symbols. There were people standing around ‘screaming’ because
they were afraid of the aliens. The aliens too were screaming because they
were scared of the humans. The aliens clung to each other but then the scene
ended up in the usual chaos and everyone, including the aliens, was killed.
Nathan’s last sandtray was very different (photo 23). This time he began to
create the chaos as before but then decided he needed a small lake which
then became a bigger lake and then an ocean. He eventually moved to an
empty sandtray and built a small bar of sand against one side. He then pro-
ceeded to fill the sandtray with water and place oceanic animals, sailing
ships and a scuba diver in the water. The water needed to be deep enough
to cover most things or for the ships to ‘sail’.
Nathan spent a long time constructing the tray in such a way that the
water would not leak out (using clear plastic film). He tested each piece to
see if it would sink or swim, constructing rafts out of twigs in an attempt to
support the Chinese junk to sail on top of the water.
Nathan seemed to be ready for the contents of the unconscious to be seen
– the dangerous and the pleasant aspects. He also then devoted his energy to
construction rather than destruction. He was more interested in order – but
not perfection – rather than chaos and destruction. Towards the end of his
therapy sessions, Nathan’s parents also investigated the possibility of chang-
ing his diet. The dietary changes made, they felt, also contributed to the
positive behaviour changes.
Family sandplay – two parents and a male

aged 14 years
This family group had asked for a sandplay session in an attempt to resolve
regular breakdown in communication, which resulted in a deepening fracture
within the family unit. Both parents and the ‘problem’ child had each done

sandplay before in individual sessions. One family member chose not to

attend the requested session but both parents and one child participated.
They chose to use one sandtray (photo 24) and each person in the group
agreed on how they wished to divide the tray and then delineated their por-
tion (see diagram below). No instructions were given by the therapist about
what they were to create in their part of the tray.
ledge
mother valley
father child
symbols on edge of tray and outside tray
One parent had had a very vivid dream the evening before coming to the
sandplay and chose to place symbols from the dream in the space. The other
parent created a sand ledge in the corner of their ‘space’ in the tray and chose
symbols for each of the other family members. These were positioned at the
edge of a valley out of which the sand ledge rose. The symbols chosen by
this parent to represent herself were then positioned outside the tray. This
parent explained that ‘getting away’ from the boxed-in feeling of the sand-
tray was important and that it felt impossible to stay inside the sandtray.
The young person, whose behaviour and attitudes was deemed to be a sig-
nificant cause of dysfunction within the family unit, chose as his main figures
Buddha, Jesus Christ, a grandfather clock, a golden sailing ship with a butter-
fly atop the mast, a resting Buddha with a golden necklace and a key. In this
scene Buddha and Jesus have conversations with each other under a tree. The
key became a significant symbol in the recounting of the sandplay story and
was identified by the boy as being a special, useful key. The golden sailing
ship was just waiting to take Buddha or Jesus on a voyage if they wanted to
go. The child seemed at great peace and very calm after the sandplay.
Feedback from the family some months after this session gave a picture of
greatly improved relationships. Their son had left school because he felt very
unhappy and after initial concern and resistance to their son’s plan, the
parents finally agreed. However, he secured work which has been satisfying
and interesting for him. Both parents have since decided to take significant
steps to engage in their own personal development journey.
Belinda – aged 45 years

Belinda chose to do a non-directed sandplay which she later described as
addressing the story of her current life, her concerns and her achievements.
Her choice of symbols included flowers, trees, animals and people, sol-
diers, fierce animals and spiritual/religious symbols. Her sandplay (photo 25)

shows a central internal world, protected by a moat. The client explained her
sandtray picture in the following words:
At the same time the internal world is connected by bridges to the external world which
contains lots of nasty, threatening animals and people, as well as beauty through nature,
animals and people. Overseeing both the internal and external world is another spiritual
overlay, represented by a totem pole, Buddha and a candle.
For this client her early life had been one of threat and violence. As a result,
a strong inner world had been created to cope with family situations, violence
and abandonment. This source of inner strength is ongoing and integral to her
sense of self now. The client reported a lessening of her anxiety. Her resilience
had been renewed and she said that she had just needed to find a path into
her Self and the time to get in touch with what was inside her.
Relationships
Drew – aged 45 years
The sandplay shows a barrier, a mountain range roughly across the middle
of the tray (photo 26). On the left-hand side are symbols for his experience
of his partner at the start of their relationship, along with symbols for the
times when things were difficult between them. On the right-hand side are
symbols for the potential for the relationship – home and marriage. Drew
explained that these symbols were not chosen to reflect an outer event, but
to represent commitment to a true and honest relationship. The partners
were able to share this sandplay in the therapy session and to draw on the
sense of common goals. At the same time Drew’s partner had prepared a
sandplay separately, with another therapist, which she also shared with her
partner. The clarification of their own experience and then sharing helped
them re-establish their mutual desire to have an open, honest relationship
with emphasis on individual growth within the strength of their commit-
ment to their relationship.
Mick – aged 47 years

Mick was attending a personal development workshop. He was familiar
with sandplay and comfortable working in a group with peer support and
supervision from the authors. He entered the process enthusiastically. The
first step was working with the sand, creating as much space as possible,
pushing the sand back to the sides. He said this related to an urgent need in
his life to ‘create some space’ (photo 27).
Next he formed hills around the edge of the sandtray, which he said rep-
resented the demands and projects he felt were currently pressuring him.
Then three mounds were created in the centre of the tray, representing his
relationships with his partner and his two children. When he moved to the
symbol shelves he began to laugh and immediately gathered several tigers
and lions, a jaguar, a leopard and a snarling crocodile. These were quickly

arranged on the hills and were linked with work pressures, the pressures of
his current university studies and the demands of his creative projects.
Figures were selected to represent the positive relationships and feelings
he had towards his children and partner. Some grief was expressed that he
did not have enough time to deepen these connections. Next two figures
were selected that reflected two aspects of himself: a calm warrior and a
frightened puppy. He explored the different attitudes, feelings and sense of
control when either the warrior or the puppy faced life.
The last step was the selection of a spiritual symbol that already had some
significance for him. It was the dancing Shiva from the Indian tradition. He
explained that for him this represented the dynamic energy he felt when he
was centred and life was in a positive flow. This was placed on the edge of
the tray (not shown in photo) to overlook the scene. He felt that a return to
his spiritual practice was essential, and that a sense of ‘being distant from
himself’ aggravated the issues he was working with. At the end of the session
he reported feeling very positive and hopeful.
Sand only
Sandra – aged 32 years
These are two consecutive sandplays in which the client was initially invited
to work with the sand and then choose symbols. However, working with the
sand it became very clear for her that the creation of the sand became the
symbol for exploration. Nothing needed to be added from the sandplay sym-
bol collection. On each occasion the symbol was within the client already.
Photo 28 shows a ‘hole in her heart’ and photo 29 shows a nurturing, full
womb. She felt a close link between the emptiness of the first sand formation
and the fullness of the second.

Pam – aged 45 years
This symbol work exercise (photo 30) focused on links between the client’s
proposed career moves and roles played within the family setting as a child,
career choices in early adulthood and the task of parenting. The client chose
to set out symbols for four aspects of her ‘working’ life to explore imprints
which held her back from seeking the working conditions which would be
nourishing and life-giving for her career.

Rachael – aged 28 years
This symbol work exercise was focused on the life experience gained
through relationships (photo 31). The client chose to work on an artpad with

symbols, exploring elements of her relationship. Her explanations of the

symbols she chose are:
Black figure in pensive posture – I’m sitting in a really awful place wanting so des-
perately to disappear. There’s a feeling of despair. The despair drips into my envisaged
pool of enlightenment and splashes onto togetherness.
Two figures sitting together – twoness, togetherness, joining with another – it could be
so blissful. This is a jagged intermixing space. The muck goes through this and onto
my face of creativity. The muck touches most things.
Shakti – a desire to show my face of creativity in wholeness and purity, to sing, to dance,
to move, to be. Out of the muck comes a strong desire to learn, to grow and to share.
Wizard with book – so much knowledge, so much to understand and get right; so much
passion for knowing and wanting to teach. A need to show others that I understand.
It’s all connected.
White horse – strength, agility, light, hope, wisdom, clarity. This never lasts long, though.
Sparkly elephant – so many colours and all so close – looks good but it’s not very com-
fortable, not knowing which colour is mine – this represents my family. This leaves a
confusion and yukkiness.
Snake – angry snake, slithers and hisses, seeing all, observing all, slithering around
life, feeling all life but never in it. Internally projected is only ugliness.
Witch – seeking destruction, wanting power, wanting to control, wanting to scream. Yet
the need to be seen as sweet and good compels me. I need to be liked.
Baby – all that is sweet and pure – fresh and new. From this place – a new place – I
could possibly find my colour and shape and live. Seeking this out.
Pocahontas – centred, true, honesty, passion for life and the energy to seek it. This is
my desire, my ideal.
Crystal wizard – shining inner wisdom, inner strength and power. All this attempts to float.
Blue pyramid – this represents a place of enlightenment, a pool of cleansing.
It all strives – searches – and expands. It’s all connected – little freedom from the other.
A busy yet full picture of me and how I relate.
Symbol work exercise with drawing

Sheena – aged 43 years
This striking design emerged from a period of reflection in a personal devel-
opment workshop, where chains of experiences that can set up scripts for our
life were being discussed. Sheena called her creation (photo 32) ‘The Game of
Life’. The symbols represented significant events and people who she felt had
influenced her life. The inward direction of the drawing represented the
impact on her sense of self of these experiences. She wrote:
The game of life. You don’t know the rules unless you search for them, and they are
hiding in a web of hurt and pain. Find your own light and beauty, and make the rules
and play your own game.

Appendix I
Self-discovery worksheet:
The different parts of me
115
Appendix II
Gestalt role-play exercise
Understanding and integrating symbols

This role-play exercise helps us gain a deeper understanding of the meaning of the
sandplay figurines we have chosen. We find our personal meanings and allow further
exploration with active imagination through role-playing the symbol.
The counsellor directs the client through the exercise, role-playing a few of the
significant symbols used in a sandplay. Ask the questions slowly, giving the client
time to feel the answer, and then respond.
1 Relax now. You are going to pretend you are this symbol. If you are comfortable to
do it, close your eyes to help you imagine you are this symbol. Now let yourself
totally become the symbol. Feel your body changing, change your posture if it
helps. Take some full breaths and feel how it is to be this symbol.
2 The client imagines self as the symbol then answers these questions, beginning
with ‘I am’:
• What are you?
• What do you look like?
• Feel inside. What are you made of or what is inside you?
• What are your main qualities and feelings?
• Tell me about your age. Are you old or young?
• Do you have a particular sound or movement?
(If they do, ask them to demonstrate it)
• Do you have a special purpose? What are you for?
• Is there anything you want now (or in the future)?
• Do you have a message for … (person’s name), or anything you would like to
say to him/her? Any advice perhaps?
3 After a pause say:
Now slowly come back to being yourself, and then gently open your eyes. Did you
hear that message? How does that feel?
4 After some discussion say:
Now write down the message.
5 Encourage the client to write down the message at the end.
6 Invite them to share how they feel after the exercise and to share any specific
insights about how it relates to their life.
7 Invite them to draw the symbol and add some words about its meaning for them.
116
Appendix III
Record form for
sandplay sessions
Date: Facilitator:
Name: Client’s age:
• Session initiated by: No. of previous sessions:
• Presenting problem:
• Pre-assessment:
Client’s reported issues/concerns:
Body reading:
Emotional state:
• Opening directions to client:
• Choice of symbols:
• Observations while choosing symbols: body energy, posture, attitude etc.:
• Observations during sandplay: expressions – facial, posture, emotional:
117
• Significant spatial relationships in sandtray:
• Main themes noted:
• Client’s insights or comments during sandplay:
• Facilitator’s insights and observations:
• Integration processes used:
• Client’s comments after sandplay:
• Facilitator’s evaluation of client:
Body posture/energy:
Emotional state:
Clarity around issues or problems:
• Follow-up recommendations/strategies discussed/homework:
• Facilitator’s self-evaluation:

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York: Routledge.
Bradway, K., Signell, K., Spare, G., Stewart, C. T., Stewart, L. H. & Thompson, C.
(1990) Sandplay Studies: Origins, Theory and Practice. Boston: Sigo Press.
Carey, L. (1990) ‘Sandplay therapy with a troubled child’. The Arts in Psychotherapy,
Vol. 17, pp. 197–209.
— (1999) Sandplay Therapy with Children and Families. Northvale: Jason Aronson Inc.
Carmichael, K. D. (1994) ‘Sandplay as an elementary school strategy’. Elementary
De Domenico, G. S. (1988) Sand Tray World Play: A Comprehensive Guide to the Use
of Sand Tray in Therapeutic Transformational Settings. Oakland: Vision Quest Into
Reality.
Gardner, H. (1983) Frames of Mind: Theory of Multiple Intelligence. London: Mandarin.
Grof, S. (2000) The Future of Psychology. New York: State University of New York.
Grubbs, G. A. (1994) ‘An abused child’s use of sandplay in the healing process’.
Clinical Social Work Journal, Vol. 22 (2), pp. 193–209.
Harper, J. (1991) ‘Children’s play: The differential effects of intrafamilial physical
and sexual abuse’. Child Abuse and Neglect, Vol. 15, pp. 89–97.
Kalff, D. M. (1980) Sandplay: A Psychotherapeutic Approach to the Psyche. Boston: Sigo
Press.
Lowen, A. & Lowen, L. (1977) The Way to Vibrant Health – A Manual of Bioenergetic
Exercises. New York: Harper & Row.
Lowenfeld, M. (1999) Play in Childhood. London: McKeith.
119
Miller, C. & Boe, J. (1990) ‘Tears into diamonds: Transformation of child psychic
trauma through sandplay and storytelling’. The Arts in Psychotherapy, Vol. 17,
pp. 247–257.
Mitchell, R. R. & Friedman, H. S. (1994) Sandplay – Past, Present and Future. London:
Routledge.
Noyes, M. (1981) ‘Sandplay imagery: An aid to teaching reading’. Academic Therapy.
Vol. 17 (2), pp. 231–237.
O’Brien, P. (1998) Gardner’s theory of multiple intelligences and its implications for
the counselling of children. Doctoral dissertation. Brisbane: QUT.
Pearson, M. (1998) Emotional Healing and Self-esteem – Inner-life Skills of Relaxation,
Visualisation and Meditation for Children and Adolescents. Melbourne: ACER Press.
Pearson, M. & Nolan, P. (1991) Emotional First-aid for Children – Emotional Release
Exercises and Inner-life Skills. Springwood: Butterfly Books.
–– (1995) Emotional Release for Children – Repairing the Past, Preparing the Future.
Melbourne: ACER Press.
Perls, F. (1992) Gestalt Therapy Verbatim. Highland: The Gestalt Journal.
Rogers, C. R. (1983) Freedom to Learn for the 80s. Columbus: Charles E. Merrill.
Ryce-Menuhin, J. (1992) Jungian Sandplay: The Wonderful Therapy. London:
Routledge.
Teakle, H. (1992) My Daddy Died – Supporting Young Children in Grief. North
Blackburn: Collins Dove.
Tereba, H. (1999) Time travellers. Unpublished Masters project. Brisbane: QUT.
Vinturella, L. & James, R. (1987) ‘Sandplay: A therapeutic medium with children’.
Elementary School Guidance and Counselling, Vol. 21 (3), pp. 229–238.
Weinrib, E. L. (1983) Images of the Self – The Sandplay Therapy Process. Boston: Sigo
Press.
Wilber, K. (1980) The Atman Project – A Transpersonal View of Human Development.
Wheaton: Theosophical Publishing House.
Zinni, V. R. (1997) ‘Differential aspects of sandplay with 10- and 11-year-old
children’. Child Abuse and Neglect, Vol. 21 (7), pp. 657–668.
Annotated bibliography
Books on sandplay
Amatruda, K. & Helm-Simpson, P. H. (1997) Sandplay – The Sacred Healing: A Guide
to Symbolic Process. Taos: Trance-Sand-Dance Press.
Presents a therapeutic model based on progression through the four elemen-
tal planes: air, fire, water, earth. Also presents a model of the process of sandplay
as represented by the medicine wheel. The authors also relate types of trauma
to the chakra system.
Ammann, R. (1991) Healing and Transformation in Sandplay – Creative Processes Become
Visible. Illinois: Open Court Publishing Co.
This author presents a how-to-do-it guide for therapists and people inter-
ested in using sandplay. Several case studies also presented which give clear
insight into the outcomes available from this methodology.
Bradway, K. & McCoard, B. (1997) Sandplay: Silent Workshop of the Psyche. New
York: Routledge.
This book covers the very practical aspects of facilitating sandplay as well as
providing case histories. Covers the background development of sandplay, how
it is used and the elements which support its efficiency.

Bradway, K., Signell, K., Spare, G., Stewart, C. T., Stewart, L. H. & Thompson, C.
(1990) Sandplay Studies: Origins, Theory and Practice. Boston: Sigo Press.
Various authors report on the use of sandplay with children, men and groups.
Includes an annotated bibliography. Explores a wide range of applications of
sandplay.
Carey, L. J. (1999) Sandplay Therapy with Children and Families. Northvale: Jason
Aronson Inc.
A very practical guide for any professional planning to use sandplay. Carey
discusses individual sandplay therapy and the use of sandplay therapy with
families – family system approach and child-centred approach.
Dundas, E. (1989) Symbols Come Alive in the Sand. London: Coventure.
A presentation of eight case studies using sandplay with children, and one
case working with an adult. This book provides a rich and valuable insight into
the therapeutic process of sandplay.
Kalff, D. M. (1980) Sandplay: A Psychotherapeutic Approach to the Psyche. Boston: Sigo
Press.
The first sandplay book, by the originator of the process, first published in
German in 1966, and then in English in 1971. Nine case studies with long-term
clients, illustrating successful therapy.
Mitchell, R. R. & Friedman, H. S. (1994) Sandplay – Past, Present and Future. London:
Routledge.
Detailed history of the development of sandplay, current research, future uses
of sandplay. Very extensive bibliography.
Ryce-Menuhin, J. (1992) Jungian Sandplay: The Wonderful Therapy. London:
Routledge.
From his extensive experience as a therapist using Jungian sandplay, the
author writes about the non-verbal phenomenon of healing through sandplay.
There is an interesting diagrammatic depiction of transferences within therapy.
He presents four detailed case studies. A fascinating, must-read book for pro-
fessionals interested in sandplay.
Weinrib, E. L. (1983) Images of the Self – The Sandplay Therapy Process. Boston: Sigo
Press.
A detailed overview of the Jungian theoretical frameworks, supported with a
detailed case presentation.
Recommended articles on sandplay

Allan, J. & Berry, P. (1987) ‘Sandplay’. Elementary School Guidance and Counselling,
Vol. 24 (4), pp. 300–306.
Summary background of sandplay. Sandplay in a school setting, common
stages of sandplay, case report with an aggressive second-grade boy.
Allan, J. & Brown, K. (1993) ‘Jungian play therapy in elementary schools’. Elementary
Carey, L. (1990) ‘Sandplay therapy with a troubled child’. The Arts in Psychotherapy,
Vol. 17, pp. 197–209.
A detailed case example of a nine-year-old boy from a class for children with
neurological disorders. This boy had a history of speech and language disorders
and suffered from depression. After treatment, his teachers reported he had more
concentration, he was less depressed and some physical symptoms disappeared.
— (1991) ‘Family sandplay therapy’. The Arts in Psychotherapy, Vol. 18, pp. 231–239.
References 121
This article contains a brief account of family therapy and lists some advan-
tages of using sandplay with a family in therapy. There are two case reports.
Some interesting comments on parents’ need to work on their ‘inner child’.
Details positive benefits from using sandplay, especially the emergence of a play-
ful quality in the family.
Carmichael, K. D. (1994) ‘Sandplay as an elementary school strategy’. Elementary
Friedman, H. S. & Mitchell, R. R. (1991) ‘Dora Maria Kalff: Connections between
life and work’. Journal of Sandplay Therapy, Vol. 1 (1).
Grubbs, G. A. (1994) ‘An abused child’s use of sandplay in the healing process’.
Clinical Social Work Journal, Vol. 22 (2), pp. 193–209.
Harper, J. (1991) ‘Children’s play: The differential effects of intrafamilial physical
and sexual abuse’. Child Abuse and Neglect, Vol. 15, pp. 89–97.
Hegeman, G. (1998) ‘The sandplay collection’. International Society for Sandplay
Therapy.
Jackson, B. (1991) ‘Before reaching for the symbols dictionary’. Journal of Sandplay
Therapy, Vol. 1 (1), pp. 55–58.
Miller, C. & Boe, J. (1990) ‘Tears into Diamonds: Transformation of child psychic
trauma through sandplay and storytelling’. The Arts in Psychotherapy, Vol. 17,
pp. 247–257.
The use of sandplay and storytelling in a hospital setting with children who
have been severely traumatised. The stories to be read to the children were sel-
ected by cross-matching with the children’s sandtray pictures.
Noyes, M. (1981) ‘Sandplay imagery: An aid to teaching reading’. Academic Therapy.
Vol. 17 (2), pp. 231–237.
Explains the simple use of sandplay in a remedial reading classroom and the
significant academic gains made by her students due to the support of sandplay.
O’Brien, P. (1998) Gardner’s theory of multiple intelligences and its implications for
the counselling of children. Doctoral dissertation. Brisbane: QUT.
The first Australian research that provides statistics for the effectiveness of
sandplay as a counselling tool in an educational setting. O’Brien explores the
application of multiple intelligences to counselling and finds sandplay, with some
other attendant modalities, to be the most effective.
Vinturella, L. & James, R. (1987) ‘Sandplay: A therapeutic medium with children’.
Elementary School Guidance and Counselling, Vol. 21 (3), pp. 229–238.
Overview of the sandplay process, relating its use for counsellors of different
therapeutic orientations. One case report of sandplay with an eight-year-old
male.
Zinni, V. R. (1997) ‘Differential aspects of sandplay with 10- and 11-year-old
children’. Child Abuse and Neglect, Vol. 21 (7), pp. 657–668.
Supportive books – counselling with children

Axline, V. M. (1971) Dibs: In Search of Self. Personality Development in Play Therapy.
Middlesex: Penguin.
Extensive and inspiring case study of play therapy, including the use of sand
and symbols, with a young boy diagnosed as autistic.
Oaklander, V. (1988) Windows to Our Children. A Gestalt Therapy Approach to Children
and Adolescents. New York: The Centre for Gestalt Development.
A practical application of Gestalt principles in counselling with children.
Plenty of ‘how to’ information on games and exercises.

Pearson, M. (1998) Emotional Healing and Self-esteem – Inner-life Skills of Relaxation,

Visualisation and Meditation for Children and Adolescents. Melbourne: ACER Press.
Focuses on the integrative and personal development methods that form a
large and important part of ERC. Draws from several spiritual and counselling
traditions. Detailed introduction to meditation methods.
Pearson, M. & Nolan, P. (1991) Emotional First-aid for Children – Emotional Release
Exercises and Inner-life Skills. Springwood: Butterfly Books.
The first book by Pearson and Nolan on the ERC approach. Outlines an inte-
grated experiential approach to working with children and adolescents. Includes
exercises and games to help young people heal emotionally. Includes birthing
games, massage games and emotional release process work.
— (1995) Emotional Release for Children – Repairing the Past, Preparing the Future.
Melbourne: ACER Press.
Sequel to Emotional First-aid for Children. Provides more psychodynamic exer-
cises and clarifies the framework for applying ERC methods. Introduces prac-
tical steps for using sandplay, as well as support for exploring spiritual growth.
Relevant background books on personal development

Grof, S. (1988) The Adventure of Self Discovery – Dimensions of Consciousness and New
Perspectives in Psychotherapy and Inner Exploration. New York: State University of
New York Press.
— (1993) The Holotropic Mind – The Three Levels of Human Consciousness and How They
Shape Our Lives. San Francisco: Harper San Francisco.
Jung, C. G. (ed.) (1964) Man and His Symbols. Middlesex: Arkana.
Lowen, A. (1976) Bioenergetics: The Revolutionary Therapy That Uses the Language of the
Body to Heal the Problems of the Mind. Middlesex: Penguin Books.
Lowen, A. & Lowen, L. (1977) The Way to Vibrant Health – A Manual of Bioenergetic
Exercises. New York: Harper & Row.
Pearson, M. (1997) The Healing Journey – A Workbook for Self-discovery. Melbourne:
Lothian.
Perls, F. S. (1992) Gestalt Therapy Verbatim. Highland: The Gestalt Journal.
References 123
Workshops and training in sandplay,

symbol work and ERC
Contacts for information on workshops, training courses or individual sessions in
sandplay, symbol work or emotional release counselling around Australia:
Mark Pearson and Helen Wilson

Turnaround Counselling Training Centre, Brisbane
Phone/fax: (07) 3425 2507
Mobile phone: 0419 492 713
email: turnarnd@dnet.aunz.com
International sandplay contacts

International Society for Sandplay Therapy
www.sandplay.org
This is the original society founded by Dora Kalff. Lists information about the
Society, member contacts, information on sandplay, bibliography, journal articles,
subscriptions to The Journal of Sandplay Therapy, etc.
Transpersonal Sandplay Therapy Center – USA
www.sandplay.net
Sandplay information from the Lowenfeld approach. Contacts for purchase of sand-
trays and symbols (from America).

Glossary
acting out Disruptive, destructive or socially isolating behaviour that is
caused by reactive feelings. The actions and the causes
often do not seem to be linked.
active imagination Intentionally giving the imagination time and encourage-
ment to continue or complete a story, a dream, a fantasy, in
order to learn more about the contents of the unconscious.
active listening Listening without interruption, being aware of the feelings
expressed under the words that are spoken.
amplification Offering ideas that may extend the meaning of a symbol,
or may suggest areas of research for a client to discover
other meanings, without interpreting.
archetypes Innate basic patterns in the psyche, predisposition towards
ways of experiencing. An archetype gives form, while the
content always comes from the individual’s life experience
of a particular archetype.
armouring Chronic contraction of muscles that is a defence against
emotions moving, expressing and being felt. For example,
tightness in the chest that holds in grief. Armouring is often
only felt during still and quiet times.
attention A quality of focusing. Can be on several levels: scattered,
directed, expanded or divided, or free.
awareness A focused way of being when the person is consciously
knowing what is happening in their mind, body, feelings;
or conscious of people and events outside themselves.
bioenergetics Physical exercises devised by Dr Alexander Lowen and
Dr John Pierrakos that awaken and help the flow of emo-
tions and energy within the body.
body energy Energy or aliveness sensed as flowing through the body.
body outline drawing A body-shaped drawing used to map feelings and sensa-
tions inside the body. Clients can draw their own outlines
or use photocopied body shapes.
centred A state of focused attention on the sensations and feelings
in the body. Such a state enables us to become calm and
more attentive, to view the world and respond from a
more self-aware state.
clear When the psyche or body is relieved of a disturbance that
has been long held, there is a state of clear or free-flowing
energy, where there are no emotional reactions or uncon-
scious motives.
collective unconscious A level in the unconscious proposed by Jung, deeper than
the personal individual, a level where there can be connec-
tion between the psyches of a group, nation or all people.
complex Ideas, associations, memories, psychological scripts that
gather together in the psyche to form a basic pattern of
reaction.
consciousness The sum of awareness from the mind, body and feelings.
contrasexual Relating to the opposite sex.
Glossary 125
creative doubt A calm, positive state of not knowing exactly what to do

in the facilitation role, waiting for intuition to show some
creative direction.
de-armouring The process of loosening muscular tightness that may have
been held for a long time. Bioenergetic exercises are the
main de-armouring activities. (See armouring)
defences Intended or automatic neurological, muscular, respiratory,
chemical or behavioural ways of avoiding emotional pain,
both pain carried from the past and new hurts in the present.
defended Rejecting feedback on our state; not wanting to experience
emotions and maintaining muscular tension in order to
avoid feelings.
ego A part of the personality which organises and directs our
activity. The ego is the centre of gravity for our usual sense
of identity. It also contains our defences, negative self-
beliefs and reactions to past hurts.
emotional healing Releasing neurological, chemical and energetic patterns
held in the body from past negative emotional experiences.
This decreases negative self-images and beliefs.
emotional pain A way of summarising the impact of emotional neglect,
trauma, hurts and disappointments.
emotional release Allowing pent-up feelings to express through the body
without restriction, in a safe, supported environment.
empowerment A state of regaining a strong, positive sense of self and an
attitude that we can achieve our goals.
essence The central core of our self, the authentic self, unaffected
by education or conditioning.
experiential Learning by doing and experiencing an activity.
fantasy Imagined form, image, picture or story. Fantasy is one way
the unconscious expresses.
Gestalt An approach to psychological development pioneered by
Dr Frederick Perls during the 1970s and 1980s. Sometimes
used in this text as a shorthand way of designating the use
of the Gestalt role-play approach to reclaiming projections
from symbols, images and people. (See page 116.)
image A psychic form or picture consisting of both personal and
transpersonal elements.
individuation A developmental process of self-realisation whereby the
individual consciousness becomes freer from inner scripts
and a more essential state is achieved. In this state there
can be connection to the Self.
inner healer An innate wisdom that moves us towards emotional heal-
ing, with its own logic around timing and order of issues to
be dealt with.
inner life A term to summarise our combined experience of thoughts,
hopes, dreams, fears, sensations, images, feelings and body
states.
inner life skills The skills for contacting, expressing, healing and describing
our inner life.

inner resources Reserves of psychological strength, motivation, creativity

and understanding, often not used in everyday life due to
overlaying self-doubts.
inner self The often-hidden self connected to our inner life, as
opposed to the persona or personality presented to the
world.
integration The act of taking time to understand, absorb, review,
record or recover from new experiences.
issue The main problem or conflict that may need to be
addressed in counselling.
kinesthetic Knowing through body awareness and movement.
mandala A completion drawing which may follow a sandplay ses-
sion or an emotional release experience or a time of con-
tacting the inner world, and which is expressed in a circle.
metaphor Something known and of our making, or of our choosing,
that we put to stand for something else, to help us under-
stand something unknown.
mirror Reflect back to a client feelings that we sense or see in them.
negative self-image A picture of ourselves that is believed to be true, built out
of criticism and non-acceptance that has taught us that we
are not capable, intelligent, creative or good enough.
opening, to open A state of physiological and psychological expansion accom-
panied by an attitude of willingness to perceive something
new.
outer life The events around us in which we participate – as opposed
to the feelings, thoughts and energies inside us.
personal development The ongoing effort of self-understanding and adjusting our
outer life to be in harmony with our inner life.
personal mythology The use of a symbol that we repeatedly use, that becomes a
regular metaphor for something in our inner world. It
becomes part of our inner story.
personal unconscious The part of our unconcious that contains biographical
details and our individual experiences.
personality A learned part of us. The part that is presented to the world
– sometimes like a mask. It usually covers the essence.
processing A structured, safe, private, supported counselling activity
that allows an internal encounter with incomplete emo-
tions from the present and past so that they can release.
project/projection To ascribe to another a feeling that originates within our-
selves, but which is not conscious.
psyche The mind, both conscious and unconscious, and its inter-
action with feelings, body sensations and spiritual potential.
relativised ego Ego consciousness that is connected to the Self or trans-
personal level of consciousness, and feels supported and
directed by this higher state.
resistance Consciously or unconsciously not wanting to feel some-
thing within or open to something or someone.
role-play Actively pretend to be something or someone in order to
understand projections and reclaim projected qualities.
Glossary 127
Self Jung’s term for the archytype of our spiritual core, some-
times referred to as our higher self, the totality of what we
can become through personal development.
self-esteem Feeling positive and confident about ourselves and our
value.
shadow Jung’s term for the part of our unconscious where unwel-
come experiences or qualities are stored. Represents attri-
butes, both negative and positive, which are not yet
conscious and have usually been denied expression.
spiritual autonomy The right to our own experience and interpretation of our
spiritual nature.
spiritual growth Increased contact with our spiritual nature that allows
outer life to be directed by a higher part of the psyche.
surrender A state of deep psychological and physiological relaxation –
an openness to a range of outcomes.
symbol The best possible expression for something as yet
unknown. A symbol acts as a healing agent or bridge
between seemingly irreconcilable opposites, pointing the
way to resolution.
systemic approach An approach to counselling that makes an effort to
improve relationships within a system – family, work
group, peer group.
temenos A safe and protected space.
transformation A positive inner change whereby negativity and confusion
move into positivity and clarity, and restricted energy
becomes free-flowing and creative.
transpersonal Larger than, or beyond, the individual ego consciousness,
connected with spiritual experience.
trigger Something that activates our underlying scripts or issues,
causing a reaction.
unconscious (a) The unconscious: a storehouse of feelings, memories and
impulses that is not directly available to the conscious mind.
(b) To be in a state of extreme unawareness.
visualisation Using mental images to create pictures or stories that sup-
port states of relaxation and self-discovery.
wholeness A sense of connection and bringing together of all parts of
the psyche, accompanied by a high degree of self-acceptance.

Index of exercises
Bioenergetics exercises:
Basic bioenergetic exercise 72
Brief head-to-toe sequence 73
Imagination helps me move 74
Energy release games:
Dance and movement 76
Role-play of energetic symbols 75
Running around the building 76
Tunnelling 76
Introduction exercise:
Free exploration of the sand 56
Gestalt role-play exercise:
Understanding and integrating symbols 116
Symbol work – the basic steps of a counselling session:
Beginning to talk about my feelings 58
Exploring my feelings 57
How do you feel about counselling? 55
Starting discussion with a new client 55
What is inside me? 56
What should I do now? 59
What would I like to do? 59
Symbol work – emotional and physical release:
Breaking free with dance 63
The different parts of me 66
Reactions with family of origin, workplace and personal life 65
Understanding my moods 64
Symbol work – families and school:
Family portraits 61
Me and my class 62
The people in my family 62
Symbol work – relationships:
Beginning to talk about my relationship 60
Relationships review 60
Symbol work – self-esteem:
Exploring my connection to the sacred 69
Inner treasure 70
The most beautiful symbol on the shelf 68
Movement, drawing and symbol stories 70
My life’s journey 69
Storytelling through sandplay 68
Symbol work – using symbols in professional supervision:
Understanding difficult clients 95
Unearthing problems, acknowledging success 94
Index of exercises 129

General index
academic progress 17, 20 directed method 50
acting out 4, 12, 30, 51 drawing 43, 77
active listening 97 dreams 2, 98
aggression 27, 32
aggressive behaviour 16, 22 ego 25, 26, 29, 33, 40
Allan 15, 32 emotional release 63, 98
alphabet letters 79 emotional release counselling 2
Ammann 24, 100 principles of 10–12
amplification 36 emotions 10
analysis 47 layers of 11, 15
anger 98 energy release 75–6
anima 33, 35 equipment 88
animus 33, 35 evaluation 88
archetype 25 expressive activities 97
art materials 79 extroverted clients 16
assessment 46
Axline 32, 33, 37 fabrics 79
family communication exercises 10
Baloche 19 focussed method 50
Berry 15, 32 freedom 27
bioenergetics 72–4 Friedman 10
bodily/kinesthetic intelligence 18, 75
body outline 56, 77, 87 Gardiner 15, 18, 75
Boe 21 Gestalt psychology 9
Bradway 6, 24 Gestalt role-play 50, 116
breathing 12 grieving 23
breathwork 11 Grof 39, 45
Brown 17 Grubbs 22
Carey 11, 16 Harper 22

Carmichael 17 homework 60
centring 30, 35 hurt inner child 14
childhood scripts 14, 96
circles 32 imagination 46
clay 79 inner healer 4, 6, 8, 13, 17, 39, 45, 100
closure 81, 86 inner life skills 10
collage 79 inner world 66
collective unconscious 26, 43 Institute of Child Psychology 8
cognition 101 integration 47, 51, 58, 77, 86, 99
cognitive behavioural therapy 101 International Journal of Sandplay
completion 34 Therapy 15, 102, 124
counselling International Society for Sandplay
steps 55 Therapy 15, 102, 124
counselling room 85 interpersonal intelligence 19
creative doubt 80, 81, 83 interpretation 12, 28, 33, 43, 82
creativity 30, 59, 103, 105 intrapersonal intelligence 19
introverted clients 16
dance 63, 64 inward arc 39
defence mechanisms 5, 14, 19, 27

James 16 play therapy 37

Janov 40 positive qualities 13
journal writing 87, 99 problem solving 19
Jung, Carl 9 processing 10, 57, 77
Jung, Emma 9 puberty 25
Jung Institute 9
Jungian psychology 24 rapport 34
reactions 14
Kalff 2, 9, 24, 25, 27, 29, 101 reading 20
regression 32
leading questions 83 rejection 14
Leboyer 40 relationships 60
linking activities 87 remedial reading 20
literacy 20 repression 14
Living Water Centre 9 research 15, 101
logical/mathematical intelligence 19 resolution 87
Lowenfeld 8, 46 review 88
ritual 32, 34
mandalas 30, 77 Rogers 37
massage 99 rules 52, 82
McCoard 6, 24 Ryce-Menuhin 43, 83, 100
metacognition 6, 102
metaphor 93, safety 26
Miller 21 sand 42, 48, 56, 89
mirroring 37, 81 sandplay
Mitchell 10 and community health 23
Mount Zion Psychiatric Centre 27 and contraindications 92
movement 57, 70, 87 and different age groups 91–2
multiple intelligence 15, 18 and families 51–3
muscular tension 13 and nature 93
music 74–5, 90 and relationships 112
musical/rhythmical intelligence 18, 75 and storytelling 21
myths 43, 87 and the beach 93
and traumatised children 21
negative feelings 13 in classrooms 15
Nolan 10 in hospital 21
Noyes 20 recording of 117–18
stages 33, 34, 36, 51
O’Brien 15, 18 themes 85
opening instructions 47, 49 with couples 53
with families 110–11
paradigm shift 24, 100 with groups 51–3
parallel sandplay 52 with males 7
parents 96 sandplay record form 117–18
and personal development 99 sandtray 28, 88
Pearson 10, 123 Self 2, 25, 26, 27, 31, 34
perinatal domain 40 self-awareness 10
Perls 32, 50 self-disclosure 17
personal mythology 30, 41, 44 self-discovery 8, 13, 56
physical release 63 self-discovery questions 16, 19, 82
play 5, 7, 9, 28, 31, 42, 46 self-esteem 6, 17, 30, 67
General index 131

sexual abuse 22 Tereba 17

shadow 5, 25, 44 Time Travellers program 17
shelves 89 training 33, 80, 95, 99–100, 124
Signell 7 transformation 6, 22, 29, 31, 42
silence 19, 83, 100 transpersonal psychology 9, 26, 38–40
speech disorder 16 Transpersonal Sandplay Therapy
spiritual direction 69, 102 Centre 124
spiritual identity 38 trauma 14
spiritual impulses 26 trust 12, 46, 51, 55
supervision 83, 94–5
symbols 1, 3, 49, 89 unconditional acceptance 28
symbol work
about families 61 validation of feelings 96
and creative writing 101 Vaney 20
and dance 63 Verney 40
and emotional release 63 Vinturella 16
and relationships 61 visualisation 88
and schools 61 voice energy 85
and self-discovery 70
and spiritual direction 69 Weinrib 24, 26, 28, 29, 32, 33, 35
and storytelling 68 Wells 8
and supervision 94–5 Wilber 39
and workplace conflict 65, 101 Wilson 132
World Technique 8, 22, 46
Teakle 23
Tears Into Diamonds program 21 Zen Buddhism 9
television 97–8 Zinni 22
temenos 39

Cover FINAL 29/6/04 12:31 PM Page 1
S ANDPLAY
&
SYMBOL w o r k
SANDPLAY & SYMBOL WORK

S andplay and symbol work are therapeutic tools for self-discovery and
emotional healing. By arranging small objects in a sandtray, children,
adolescents and adults can unlock the subconscious and reveal unspoken
dilemmas. For many people, it is a powerful form of self-expression and an important
step towards personal healing.
Emotional Healing& Personal Development
Sandplay & Symbol Work guides therapists, counsellors and psychologists in this
breakthrough technique. Therapists Mark Pearson and Helen Wilson present step-by-
step exercises for practitioners to assist clients’ symbol work.
Also presented are:
• the history of sandplay and symbol work techniques, and their links to Jungian
psychology;
• methods to adapt the techniques to clients of all age groups and different settings;
• case histories from the authors’ own field work, including full-colour photos of
sandplay sessions; and
• research literature on a variety of sandplay applications.
Sandplay & Symbol Work is an invaluable guide for counsellors wishing to explore this
innovative technique and support others effectively in exploring their inner world.

About the Authors:
Mark Pearson and Helen Wilson have a combined experience of training counsellors,
psychologists and psychotherapists in the use of sandplay therapy and symbol work
of over 25 years. Mark is the author of Emotional Release for Children (ACER Press,
1995), Emotional Healing & Self-esteem (ACER Press, 1998) and several books outlining
emotional release counselling with adults.

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Cover FINAL 29/6/04 12:31 PM Page 1

SANDPLAY & SYMBOL WORK

Mark Pearson • Helen Wilson

Mark Pearson • Helen Wilson

Mark Pearson • Helen Wilson

Mark Pearson • Helen Wilson

First published 2001

Copyright © 2001 Mark Pearson and Helen Wilson

Edited by Jane Angus, Writers Reign

1. Sandplay – Therapeutic use. 2. Play therapy. 3. Psychotherapy.

Chapter 1 The development of sandplay 4

Chapter 2 A gathering of wisdom – the Jungian heritage

Chapter 3 Sandplay and symbol work methods 41

Chapter 4 Symbol work exercises 54

Chapter 5 Expressive support processes 72

Chapter 6 Professional orientation 80

Sandplay stories 103

Appendix I: Self-discovery worksheet: The different parts of me 115

Appendix II: Gestalt role-play exercise 116

Appendix III: Record form for sandplay sessions 117

Index of exercises 129

General index 130

the expressive therapies, combining elements of both. Sandplay allows the

2 Sandplay and Symbol Work

Transformation can happen at the level of metaphor, as the figures are

Introduction The language of symbols 3

andplay can contribute to satisfying the soul’s longing to know and

How does sandplay work?

unresolved conflicts, specific and non-specific dissatisfactions, negative beliefs,

Differences between sandplay and

for ongoing emotional health and the development of self-knowledge, and

The evolution of sandplay as used in ERC

destruction – clay, hammers, punching toys – and materials for expressing

For a detailed history of sandplay and a comprehensive bibliography on

Sandplay and symbol work in ERC

10 Sandplay and Symbol Work

• emotional release processes that may include energy release through

Carey (1999) lists the stages or layers as:

These layers may come to consciousness and be expressed a number of

Basic principles underlying ERC and

Chapter 1 The development of sandplay 11

• ERC allows personal exploration to move between the conscious and

What supports emotional healing?

12 Sandplay and Symbol Work

Chapter 1 The development of sandplay 13

• Many of us have a part of our personality constellated around the hurts

Sandplay literature and research

Sandplay as an aid to counselling in schools

16 Sandplay and Symbol Work

Vinturella and James further suggest that parents could be trained to

A growing number of school guidance officers and school counsellors

Sandplay and multiple intelligences

18 Sandplay and Symbol Work

Chapter 1 The development of sandplay 19

Sandplay and academic improvement

20 Sandplay and Symbol Work

‘The army tank’s mine!’

Sandplay with abused children

Chapter 1 The development of sandplay 21

withdrawal, and/or aggressive behaviour, and found that sandplay helped

22 Sandplay and Symbol Work

An experienced social worker who trained with us is now using sandplay

Sandplay and grieving