Dreamwork Workshop
About This Art Therapy Workshop
Embark on a transformative journey in our 3.5-hour Art Therapy & Dreamwork Workshop. Guided by a Professional Art Therapist, immerse yourself in the realms of dreams using elements from Gestalt and Ullmans Dream Appreciation Approach. Unearth subconscious narratives through a plethora of art supplies and art creation, allowing your inner world to surface. This immersive experience encourages self-discovery, healing, and personal growth. Engage in diverse art exploration with a generous array of materials at your fingertips. Foster connection through sharing and witness and unleash your imagination.
PLEASE BRING A RECENT WRITTEN OUT DREAM
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Gestalt Dream Theory and Techniques
Gestalt dream theory maintains that dreams are reflections of one’s personality. Dreams are a window into the areas of self that while conscious one may be unaware of or be actively avoiding or rejecting (Perls, 1972). As per Pesant and Zadra (2004) “Gestalt dreamwork aims at integrating the rejected and disowned part of the self” (p. 493). Additionally, the Gestalt viewpoint believes that dreams are an existential message, that they carry a message about the dreamer’s life (Perls, 1972). Hammel (2021), further explains that “an existential message within a dream involves understanding your deepest self and knowing categorically what your dream unearths about the way you experience human existence” (p. 3).
Within Gestalt dreamwork, every element in the dream is assumed to be a projection of the dreamer and is encouraged to be explored in the here and now. Gestalt dreamwork focuses on the client, the therapist does not actively interpret the dreams, as it is believed that the dreamer is the only one who truly knows what it means, a therapist is merely a guide in the journey (Hamel, 2021). Consequently, Gestalt dreamwork methods involve a client-centered approach, where the dreamer can reconnect with the dream in the present and fully reimmerse into the dream, feeling the same emotions and connecting with every element of the dream as if they were there now or are an object or other person in the dream (Alban & Groman, 1975). Gestalt dreamwork does this through several different methods and approaches.
Identification. The goal of identification is to make a connection with your own life experiences and truly feel what it is like to be each image in your dream. Dreamers are encouraged to write down any images, such as objects, characters, animals, etc., or more abstract elements like emotions, actions, and colours (Hamel, 2021). Afterwards, the dreamer is asked to spontaneously write down associations with each image one at a time, only moving to the next image when all aspects of the current image have been explored. Once an image has been chosen to look into further, the dreamer is asked to identify with the chosen image using the present tense, “I and now.” The client needs to become the element in the dream - for example, statements such as “I am the tree. I am old and alone.” Discovering parallels to waking life situations and issues is the focus (Hamel, 2021, p. 60). In this example it appears that the dreamer may feel old and alone, just like the tree. This can and ideally should be explored further. Once complete, a clearer picture of what the existential messages are can be found. Beisser (1975) summed up that “the purpose of this approach is to heighten emotional experience and to encourage the dreamer to identify fully with each of the fragments of his life as they emerge into awareness” (p. 1). Rosen (2006) further elaborates that “the technique allows the patient to recognize and address inconsistent and contradictory parts of his or her personality. The individual learns to integrate various parts of the personality and to appreciate the differences” (p. 81).
Dialogue. This technique revolves around the idea of polarities, which is a conflict between opposing sides of the self (Perls, 1972). In dreams, this is often represented by two characters or elements within the dream that are opposites, for example night and day, villain and hero, or black and white. Resolution is often sought in conscious life by siding with one side of the spectrum and then when no resolution to the problem has been reached, going to the other side of the spectrum, constantly flip flopping between the polarities and never solving the problem (Perls, 1972). This can lead to feelings of hopelessness, feeling stuck with the same problem repeatedly, and never overcoming it (Hamel, 2021). This polarization can be addressed through dreamwork by choosing two opposite elements and creating a dialogue between them. The goal of this dialogue is to align each side, to find common ground and a resolution. Creating solutions through addressing conflicts via dream dialogue can lead to increased harmony and inner peace in waking life, also freeing up energy to address potential other inner conflicts. The initial step is finding two opposing elements; this can look like elements that avoid each other, who conflict with each other, or opposing elements that interact with each other (Hamel, 2021). Once the elements have been identified, the dreamer must take turns identifying with each element. They speak to each other about who they are, and how they feel about each other, and the differences between the two. It is important to be spontaneous and not let judgement come into play as this will help identify the state of conflict. Below is a short example from this project author’s dreamwork (please note, this is not a complete example that shows all phases and resolution).
Me: Why are you so scary and destroying the city and trying to catch me?
Monster: I didn’t destroy the city and I just want to talk to you.
Me: How am I supposed to know that? You are terrifying to look at, and you are running
towards me, and the whole city is in ruins.
Monster: I don’t like that you just assume because I am big and a monster that I am evil and set out to destroy everything. I also don’t like that you run away all the time or hide from me. Stop being such a coward.
Me: I don’t like how you roar so loud and are so big, how could I not be so scared of you?
Monster: I see your point, but this is who I am, and I can’t change how I look. Maybe you shouldn’t always judge something by how it looks?
Me: You might be right, but I think it is pretty normal to be scared of something that looks like it is chasing you and is three times your size.
Monster: I understand what you are saying. Well, we are talking now. So, let’s talk.
Me: Ok, well what do you want, why are you in my dream?
Monster: I have a message for you. But you are afraid to hear it, which I guess is why I seem so big and scary to you.
Me: Oh, ok. Well, I think I am ready to listen.
Monster: Great. First off I am here to tell you that I am not as scary as I seem. That you can confront me and don’t need to hide or run away anymore.
Me: Well, you do seem less scary right now.
Once the conflict has been ascertained the goal is to find a resolution. A resolution may not be attained with the first dream this process is initiated on. However, Hamel (2021) states “when not fully resolved, a conflict will reoccur in a new dream, in a similar form with completely different symbols that will better reflect its new state, giving the dreamer a new opportunity to go even further with the dialogue” (p. 67). As with any Gestalt dreamwork, the end goal is to determine the existential message, create lasting positive action in waking life surrounding the message that was understood, and learning about oneself as a whole.
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DescUllman (1984) described his model as on that was developed specifically for group dreamwork sessions, in which the dreamers and group interact with each other:
The goal being to help the dreamer experience the felt connections between the imagery of the dream, the life events that triggered the dream, the tensions portrayed, the way that past data are integrated into the present context, the resources and limitation with which the dreamer copes with the issue and finally, the appreciation of the artistry and creativity with which the entire drama is organized and expressed. (p. 4)
Ullman’s approach involves three stages, outlined below.
Stage One. This stage begins with the facilitator asking if anyone would like to share a re-cent dream. A member of the group volunteers to tell their dream and after they’ve finished, the floor is open for the other participants to ask questions about the dream. It is important that the dreamer does not go beyond the manifest content (aka. the main narrative of the dream) (Ullman, 1984).
Stage Two. After the dreamer has shared their dream, it is their turn to actively listen to the group. The other group members are encouraged to connect to the feelings and moods the dream evoked within themselves (Derr & Zimpfer, 1996, p. 6). It is all about how the dream affected the listeners and what emotions were elicited. Reactions are shared with the group vocally; utilizing art would also be a great method to utilize within this stage. Often the feelings produced are similar to the dreamer’s feelings. The second part of this stage is about attaching personal meaning to the dream images within the dream that was shared; these are projections of the group members and not the dreamer. Their input and viewpoints often directly correlate with the dreamer. This process also highlights other ways to view the dream, aiding in providing potential other avenues of meaning for the dreamer (Ullman, 1984).
Stage Three. The dreamer responds to the group’s experiences, feelings, and associations, and shares and elaborates on their own take on the dream (Derr & Zimpfer, 1996, p. 6). The dreamer often expresses how similar the groups input is to that of their own reflections on the dream. The end goal of this whole process is ownership of the dream, this comes about when the dreamer can answer, “What were the specific events in your life that shaped this particular dream and account for the fact that it occurred at this particular time in your life?” When there is awareness of a specific context, the metaphor suddenly springs to life (Ullman, 1984). Arriving at this answer most of the time requires aid from the group. The group starts a dialogue with the dreamer; they ask about events preceding the dream, thoughts before falling asleep, and for additional details from the dream. “This dialogue continues until a sense of closure is experienced by both the dreamer and the group” (Ullman, 1984)
COST = $100
Visit: Paint Ur Art Out to sign up, please select “more times” until you find my workshop!
Sunday, November 26 5 pm Mountain @ Paint Ur Art Out: 1510 7th Street SW, Calgary, AB, Canada - 1 (587) 210 - 1377
