CULTIVATING IMAGINATION Shaun MeNiff ‘As the popularity and relevance of expressive arts therapies continue to expand, we are on the verge of becoming a mainstream discipline. ‘The realization of this opportunity will depend upon cur ability to understand and articulate what we can offer the world. Our discipline is ‘sed upon the sctivation of de meine of te cesar nagintion ‘that operate in ways that cannot be explained by the linear paradigms and the analytic narratives which have characterized psychological thinking during the past century. In addition to articulating the healing function of the creative imagination, we need to realize that this “intelligence” has few limits in terms of what it can decome. The expressive arts therapies have powers unrealized and applications yet to be imagined. What is the creative imagination? ‘The lack of appreciation for the intelligence ofthe creative imagination originates largely in the dualistic world views that have for so long cast complementary elements—reason and intuition, science and art, the real and unreal, subjective and objective, empirical and imaginal— - Pinto polar amps wich enjoy few posites for ecireal creation so0ii! [imagination is an “integrative” ineligence that includes reason, intuition and many other contributors in keeping with the nature of reality, Iti time to move past dualities of mind and to appreciate the complete “participation mystique’ of imagination. Imitating nature, the creative imagination operates by making ‘connections between all things In Art-Based Research (1998), T document how the expressive arts therapies can do much more in utilizing the creative imagination as a mode of discovery. SaNEW DEVELOPMENTS IN EXPRESSIVE ARTS THERATY The literature documenting the process of creative discovery in science and industry speaks often about the process of imagination. We have heard many accounts of how creative scientists make their most important discoveries while pondering some aspect of nature outside the context of the laboratory or while relaxing in a state of reverie. Discovery frequently occurs during periods when the linear Hee Ae eoecinen b cipendal wed aie te various aspects of a problem to take on a different relationship with one another. The relaxed reverie of imagining generates a new “integration” of the participating elements. ‘Tt seems that areas of life which are driven by the need to innovate and change embrace the creative imagination, whereas hove sectors Striving to justify themselves according to prevailing concepts of reality are less likely to acknowledge its existence as a primary intelligence. When we plan and assess everything that we do according to what we already know and accept imagination is apt to suffer. ‘The presumption that imagination is “only” idle fantasy and make-believe has been a serious deterrent to its growth. When cast as a trivial activity, imagination loses the benefit of energies focused on and science in solving problems and creating new life. Tt might be asked whether there is an “unreal” aspect to the working of imagination. For those who see imaginative reverie as simply another form of reality, a distinctly imaginative presence that can be distinguished from the structure of physical things, there is a constant need to differentiate the varied types of reality. The conventional view of “teality” is limited to “facts” and “hard data” as verified by the perceptions of reasonable people. In my work with psychiatric patients in the 1970s, I observed how the person labeled psychotic or schizophrenic was caught in a bind when it came to self-expression. Contents that they presented in their art or in their conversations that deviated from the most literal definitions of the external world were often viewed as confirming that they were out of touch with “reality.” Tescemed natural me o view a person’ inner experience simpy. a form of reality that differs from what exists in the material realm of. consensual experience with others, When a patient made a painting or a_ soem expressing personal feelings, they were creating realy within the of psychosis, approached as a disorder of imagination, involved an a(CULTIVATING IMAGINATION inability to distinguish 1¢ different aspects of reality that might be interacting with one another in a particular situation, ‘The mind is disoriented by psychosis and unable to move from one type of experience to another in a way which is congruent with the experiences of other people. A person experiencing this condition no longer makes the subtle distinctions between inner and outer experiences that characterize healthy relations with the world. In_ psychosis the purely imaginal, and nevertheless real, phantoms of the inner world are experienced literally, as though they were material beings existing in the external world. It can be argued that the ‘one-sided belief that only “hard data” are real is equally out of touch with reality. The phenomena of the creative imagination contribute in a productive way to improving the quality of life when Inner visions take shape within the physical world, How does imagination operate? | Creative vitality can be viewed as a condition in which all of a person's ‘oa community's resources simultaneously generate stimuli and insights without necessarily following a logical or linear sequence of actions. ‘The imagination is the intelligence that integrates and guides the creative transformation of what some might perceive as an unlikely mix of participants. In 1804, Jean Paul Richter described the imagination as. the “faculty of faculties” which he likened to the process of pollination: “In genius all faculties are in bloom at once, and imagination is not the flower, but the flower-goddess, who arranges the flower calyxes with theit mingling pollens for new hybrids” (1973, p35). Imagination is the. -enducor of reve ston, foes tat opentes by nang ah inh yetween previously separate entities, always open and receptive to new The vitality of the imagination is frequently experienced within ‘groups and communities that are given the freedom and support to create, The community of creation is an energizing force that acts ‘upon the people within it. As the Romantic poets observed, the life of imagination is furthered by an environment where “fying sparks” ‘pass amongst people and ignite new ideas. This interactive and participatory dynamic also occurs within the individual imagination. ‘The community of creation that we discover in the company of othet Beople exists within ourselves —2L[NEW DEVELOPMENTS IN EXPRESSIVE ARTS THERAPY wes" Today, the general sense of imagination may be defined as an ability ot or ‘to creatively engage the world. Where not too long ago imagination {pw Was primarily identified with “unrealty” and fantazy, imagination i So now increasingly being viewed as a primary creative intelligence, ‘Although for some people imaginative activity might suggest mental images or ideas of things that are not physically present, the more & pervasive sense of imagination is focused on its identity asa force that gud is capable of creating new life, ‘We speak often about the creative imagination as the basis of genius in the arts and science as well as happiness in dally life, but there is very lite about this intelligence in psychological lnerature ‘What has been written is often far removed from the experience of imagining. Perhaps this is because psychology and imagination are based on very different languages and worldviews. The latter requires eat Mie ouside te ins of Wha caren xen, and the former exemplifies the methodical rigors of operating “within the ines” so 50F curently accepted inquiry. The linear patterns of conventional 9s psychological though simply do not correspond othe more circuitous yok’ and paradoxical ways of imagination. Conventional dichotomies such as the split between reason and intuition polarize the study of the creative act, Psychology imagines itself as an empirical and analytic science, and it is not surprising that itis reluctant to recognize and seriously investigate an intelligence located beyond its current sphere of activity, Imagination’s identification with fantasy has no doubt contributed to its peripheral role as an object of psychological inquiry and as an accepted tool of inquiry. Edith Cobb (1977) felt that when people enter into “reciprocal y fh) laons” with the natural word, they acess creative energies that we are generated by the ecology of forces moving within environments. whe In keeping with Richter’ integrative vision, Cobb's ecoiogical theory. W500" suggests that the intelligence of imagination operates through the “power of creative synthesis” She views imagination as in Between the individual person and the “otherness’ of the ‘world, all of which correspond to the movements of nature. This view of imagination concurs with the Chinese and East Asian idea of ob’ CS ial fores permeating allo ie, which acs most efpctvely when. ‘spontaneous like a force of nature (McNiff 2015). EB jing participates in an environment of creative integrat ‘There is no need for dichotomy between the participants. Private reverie Poe(CULTIVATING IMAGINATION utilizes perceptions of the natural world as sources for creative play. Cobb perceives the space between the individual and the object of desire as the realm from which “imagined forms” are created by the instrument of “mind” (1977, p.56). Ima, ion is an intermediary sphere where the interplay between inner and outer worlds takes place. It is an open and dynamic realm ‘where narrow fixation is discouraged because it interrupts the ecology of creative relations and dulls a person’s sensitivity to new influences. ‘When we are immersed in reflection upon our mutual relations. ‘ature, imagination acts asthe integrating intelligence. What can we do to cultivate imagination? In keeping with Edith Cobb's vision, the creative imagination is an intermediate realm, existing in the space created between a person and an object of reflection, The if tion as an_ intermediate realm suggests place, or more accurately a state_of a nS a tak patterns of interaction. This condition can be likened to the Middle ‘Way of Buddhism or the Taoist sense of nature that avoid the traps of polarization. The middle realm is not a static center of equilibrium and it is not to be confused with the term “middle of the toad” or with compromise. Gathering the strongest possible clements and allowing ee integrates and transforms ideas into new relationships, Paolo Kill’: Intermodal” teary of expreive ar Seep sed spon te medial space of imagination (Knill, Barba and Fuchs 1995), as 7 Stephen Levine's “poies#” chat_afirms suffering_and_fiagmentation as inseparable from the depths of creative imagination (1992). All of “We is vital to the process ~“Tmagination’s middle realm is thoroughly immersed in the ‘experience of the world but open to new perspectives, unfettered by fixed ideas, and always longing to create anew. It is 2 kinetic and dynamic area corresponding to the ancient Celtic conception of “thin places” where movements between matter and spirit occur with relative ease. Being in the intermediate realm of imagination can also igi = —————, be compared to what athletes experience when they are ‘in the zone.” ‘There is a relaxed but totally Focused flow from foe hig wane 35 —[NEW DEVELOPMENTS IN EXPRESSIVE ARTS THERAPY ‘As with the aesthetic perception of beauty, the person is wholly engaged and detached at the time. ‘The middle realm o} of simultaneity” (2015) that accepts many things happening same time. Different elements coexist, converge, and cooperate while staying completely true to themselves. “The possibilities for integration are endless, and kinesis is constant. As anew combination of elements is achieved, the movement continues. Creative types have a keen appreciation for how the pleasures of imagination involve continuous immersion in the process. The imaginative realm is spacious and safe. The absence of an intermediate realm between polarized positions can create a tight ‘squeeze that can be both restrictive and dangerous. Wher there is little room between opposing positions, they are apt to act out their needs for expression onto one another, When this happens, the “invaded” territory is likely to perceive the incursion as a threat, rather than as the stimulation of a partner in the larger interplay of creation. As in the Buddhist tradition, the middle accepts contradictot ‘a creative of integrating their energies While the middle of the toad or centrist attitudes desire to eliminate tension, the intermediate realm of imagination encourages the individuation cf the varied participants in a conflict. There is no attempt to take the edge off a strong position within the middle way. However, identification with EB Sct ano pcaticoal slalom tp ictal A ona ‘ie mind bevomes Hated ons Sigua peston loc igulat position, it loses the ability to wa, See the creative interplay and benefit from it. gaye ‘The most polarized people probably cannot imagine life without u their discontents. What will they become without selfdefining __ antagonisms and feats? Letting go of the adversarial relationship Ral becomes a primary threat to their existence and power, The middle \ realm is committed to stepping away from one-sided insistence. od Rather than stifling conflict, it embraces William Blake's notion that yet. progression requires a free exchange amongst contrary positions, ~ oe Creative leadership is based upon cultivating the intermediate realm. When meeting with colleagues, adversaries, and people in —16\-(CULTIVATING IMAGINATION order to create an effective intermediate tealm, the primary emphasis is placed on providing a safe environment that encourages people to express themselves authentically and honestly. Risk-takers, who act for the good of the whole, are affirmed. Participants are encouraged to de-personalize issuc ons, and to relativize their opi and view themselves as parti ts in a broader discourse, When this aesthetic distance is established, people are better prepared to ay as contrasted with how they see it or ea 5 ‘While welcoming this collective interplay, the leader maintains a vision of the total environment, keeps participants on task, and enables the process to carry everyone involved toward the most desirable outcome. Leaders in vatied situations from the classroom, workshop group, workplace, or on the athletic field, are alway ful the intelligence of the intermediate realm. They are committed to discovering what the creative and collective interplay can ¢o to improve conditions. They help participants see the connection between what ‘implement new ideas and goals. How does healing occur? My experience affirms that healing energies will always find their way to areas of need within a person or group. The essential attribute of the creative imagination is its ability to operate outside linear thought and operations. Discoveries, insights, and changes occur through the “complex” of imagination that integrates and sometimes makes use of unlikely sources, The first step in accessing the medicines of imagination involves the creation of spaces for practice. From artists and creative people, we learn that environmental structures are helpful in fostering expression and imagination. The productivity of the inner life benefits from external constraints, such as scheduled and regular activity, timelines for completion, and the needs of others, The intermediate realm of imagination is not without strict organization and expectations. ‘As we explore the creation of spaces to further the practice of imagination, I predict that clear, safe, and reliable structures will further expressive freedom. It is not enough to simply say to a pers Sal[NEW DEVELOPMENTS IN EXPRESSIVE ARTS THERAPY ot a group of people, “Take this time to imagine and create.” Teachers creation and for inspiring actions according to a vision that is both ‘As people begin to work, the environment generates energies and outcomes which cross over from one realm of activity to another. Creations are contagious. Results achieved in one area spread to others. This contagion occurs within every aspect of artistic, scientific, spiritual, and commercial discovery, Atmospheric invasions are generated by new waves of excitement. Creative imagination, as William Blake declared, is a vety real gata and el Aa fcepane anon plas fo another via inspiration that spreads in a way that can be likened to a contagious reaction that permeates person ora group, The transmission _of imagination has little to do with the planned outcomes of linear causes and effects. The life of imagination is based upon this fli “ideas and the cfeation of new relationships. Where a toxic infection ‘weakens an operating system, the contagion of imaginction quickens and animates experience. The intermediate realm of contemplation is a safe container that supports participants in making new integrations of previously separate materials, Once fashioned, the formative creation ‘quickly passes from one area of life to another, ‘The creative imagination is propelled by the urge to cross over peel cots mn clace reactiesslninghmeebel anetheee ‘js the mechanistic containment of thought and expression within pre-existing lines of operation. ‘The imagination fies beyond the parameters of what is presently given to create in response to images. ‘of desire. If these flights of imagining are to create in a productive way, they must be paired with the discipline and sensitivity that extend from imagination's greater purpose to fulfill its potential to serve life. Crossing over assumes a movement from one aspect oflife to another. ‘The space that is crossed can be likened to the intermediary realm of imagination that transforms whatever passes through it. Participants in iy studios repeatedly teach me thatthe creation of a safe envizonment is the most fundamental element ‘thers Most people need to Teel secure anda sense of trust f they are 10 take risks and venture into unknown realms,(CULTIVATING IMAGINAT ‘To the extent to which cr ites a certain degree of tension and conflict in order to generate change and transformation, I find t these energies never need to be generated by leaders. There is plenty of tension and conflict within each of us and within our daily lives. ‘engaged directly without becoming entangled with the personalities ‘and provocations of other people "The practice of creative imagination is very much like the syehotherapeutic process in that both place the emphasis rsonal_discove i. The psychoanalyst 1D. W. Winnicott attempted to create a “holding environment” which supported the person in finding understanding. Winnicott had expressed dismay in reflecting upon "how much deep change” was “prevented or delayed” by his interventions. He concluded that the analyst's role is the creation of an environment which *holds” the person: “If only we can wait, the patient attives at understanding creatively and with immense joy, and now I enjoy this more than I used to enjoy the sense of having been clever” (quoted in Davis and Wallbridge 1981, p25), It is the mature teacher, therapist, and leader who realizes that the most profound results are based upon creating an environment in which others can realize their creative potential. Insecure and inexperienced leaders are always placing themselves in the center of the activity where they feel the need to control, direct, and orchestrate ‘outcomes. The most successful leaders get people wondering what the person “in charge” did in order to make things happen. Although the leader might establish a strong sense of presence and support, there is characteristically an ability to become invisible in order to allow others to act and create, With the creative proc cople 10 move it relaxed way without thinking too much about what they are going {© do next. The goal is to enable the movement to ditect itself a allow the leader to concentrate on cating for the overall envi Sas ea epeccde a ee ea eee that fosters expression. There has to be room for the movements SE TRET IN AS ie puma cpeealon, Dep comet ‘from a very simple orientation that is also spacious. —aL[NEW DEVELOPMENTS IN EXPRESSIVE ARTS THERAPY Summary In conclusion, and in support of total expression (Gesamckunstverd) in expressive arts therapy, the use of different art medic enriches the ecology of imagination. We cultivate imagination by feeding it the best possible resources, by deepening the mix of ingredients, and always trusting that this integrative intelligence will find its way to healing and creative transformation. Expressive arts therapy is uniquely based upon the healing and re-constructive powers of the creative imagination. Our therapeutic discipline enables the creative process to operate outside the parameters of linear thought and methods. Expressive arts therapy has an immense potential to serve the world, The realization of this power depends upon: ‘+ expanding psychological thought and methods o include the intelligence of the creative imagination that generally operates “outside the lines" of conventional analytic inquiry + developing theoretical and operational skills within the ‘expressive arts therapy discipline that will ultimately cross ‘over and influence the larger discourse of human knowledge. Expressive arts therapy needs to view itself as a vital part of the archetypal mainstream of creative expression, thought, and healing. ‘As we increasingly move from the periphery and toward the center of the therapeutic discourse, we will be challenged to convey who we are and what we can do in ways that convince and inspite others. ‘The practice of imagination, Our discipline can look mote deeply into itself and into the historical continuities of creative practice as a way of flourishing within the mainstream of therapeutic experience. References {Cos (1979) The Bola of mein Cond New Yoke Colbie Unversity Press ‘Big Mand Wille, (1981) Bander and Spe A Irion Wake D Waka, ‘NewYork: Bruner Mazel Kil P, Ba, HIN and Fuchs, M. (1995) Mine of Soul: meradl Expres Te, Torn: Palimeton Pres, Levin, 5 (1992) Pin The Lenn of Peta te Spf he Se Toront: Palmeson Pres. MNS (198) Arh Rech. Londo: esa Kingsley Publishes [MeN S (2015) apt Aci See for Unleting Ona Expres Boson: Shambhala Publicons. Richter, (1973) Hor of Oh St fr Aas Det, Ml Wayne Ste Univers Press —20\—