THE IMAGINABLE ARCHETYPE: PRACTICES AND PRINCIPLES OF SANDPLAY THERAPY A Research Report submitted to: The School of Social

Work Faculty of Graduate Studies and Research McGill University in partial fulfillment of the re uirements for: The Master!s "e#ree in Social Work $y: Ruth %laire Weintraub Montreal& March '(() PREFACE This paper is an introduction to sandplay& a therapeutic modality *ith a #ro*in# constituency of practitioners *orld+*ide, -n it& - describe the ori#ins of sandplay& the process and the materials used, .i#hli#htin# its suitability for Social Work& - e/plain *hat sandplay is used for& clinically and dia#nostically& provide information on *ho uses it& for *hat purposes and *ith *hat success, To demonstrate ho* the process *orks& share an illustrated account of my first sandplay process& then discuss some of the initial problems encountered in understandin# and interpretin# that process, - provide some information on ho* people become sandplay therapists and indicate some of the trainin# issues, - conclude *ith some further directions for theory and practice, This paper *ould not e/ist *ere it not for the *arm and thou#htful #uidance of my faculty advisor& "r, $arbara 0ichols, - am also indebted to the assistance of e/cellent librarians, At McGill University& especially 1i2& Ailsa and Marcus3 "oris Albrecht of the 4risten Mann 1ibrary at the %, 5, 5un# %enter in 0e* 6ork %ity, "rs, 1a*rence 4irmayer of McGill7s "ept, of Transcultural 8sychiatry and "avis 1andis at SU06 Stony $rook Medical School made their personal libraries accessible, Sandplay therapists 9stelle Weinrib& 0ehema $aum and 6vonne Federer *ere #racious and responsive to my short+notice appeals, Ackno*led#ement is due to my family: my late maternal cousin Simonne Marcus Fuchsel& and of course my parents& %harles and %elia Weintraub3 my sister 4aren and my brother "avid& alon# *ith their respective families3 my sons 0oah and 5acob and each of their fathers, The love and #ood faith of all these people helped make this *ork possible, The inte#rity of the information in the creative matri/ of my life is authenticated by the vitality and fidelity of friends: Guna& 1ouise& Sonia& Faith& Marilou, Rob #ot me to the bus on time3 5ohn and 0ick thou#ht the bo/es deserved 5apanese :oinery3 8aul helped me make space for them, Finally& ;last but not least<& - am #rateful to the F,%,A,R, of the Government of =uebec for havin# supported my research,

TA$19 >F %>0T90TS: 8R9FA%9 -0TR>"U%T->0 ', What sandplay therapy is3 *hat its ori#ins are3 the process and the materials used3 its suitability for Social Work Who uses sandplay3 for *hat purposes and *ith *hat success My introduction to the sandplay process .o* sandplay *orks3 understandin# and interpretin# the process A, Trainin# in sandplay therapy3 ho* people become reco#ni2ed as sandplay therapists Further directions3 issues in theory and practice

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O blessed rage for order! + Wallace Stevens The great need of our time is for people to be connected to spirit; for people to be connected to a core of feeling in themselves that makes their lives vital and full of meaning, that makes life a mystery ever-more to be uncovered. + .arold Stone -0TR>"U%T->0 Sand play, The *ords con:ure sunny memories: days at the seaside& saltfoam *aves& crabs and distant sailboats for company, 8ail and shovel at hand& earnestly the buildin# be#ins ++ tunnels and roads& castles and moats: a *orld arises from the *aters& :ust as ima#ination decrees, Then& *ith the imperceptible shiftin# of the tides& the ocean reclaims the D*orldD made in the sand ,,, , The thou#ht of such treasured times may evoke nostal#ic feelin#s for the past& or even the fleetin# thou#ht that it mi#ht be fun to play *ith sand once a#ain, After all& isn!t a sandbo/ simply child!s playE 6et a sandbo/ can be more than play, -t can also be a primary element in therapy& for adults as *ell as children, The sandbox is not an instrument of magic. It is a tool, an extremely effective tool, for getting to the imagination and allo ing it to become creative ;4alff& '(FG<, ', What sandplay therapy is3 *hat its ori#ins are3 the process and the materials used3 its suitability for social *ork Althou#h many peoples& such as the 0ava:o and Australian abori#ines& have used sand for sacred purposes& includin# healin# rituals ;Farris&'(F(<& the first person to use sandplay e/plicitly as a form of therapy *as $ritish pediatrician and child psycholo#ist Mar#aret 1o*enfeld& *ho be#an her *ork in the late '()G!s, !"#he as most of all preoccupied ith the insufficiency of ords to express those aspects of childhood thoughts and feeling hich interested her most ;Mead& '(HH& in 1o*enfeld& '(H(<, 1o*enfeld developed *hat came to be kno*n as The 1o*enfeld World Techni ue after readin# .,G, Wells! ;'(''< description of his ima#inative play *ith his children, Wells related ho* he and his t*o youn# sons covered the entire floor of one room *ith numerous miniature ob:ects such as houses& people& soldiers& boats& trains& animals& as *ell as pieces of *ood& paper and plastic, Their Dfloor #amesD consisted of the children!s construction of fantasy scenes ;8etti& '(('<, 1o*enfeld arrived at her DWorldD techni ue independently& *hile *orkin# as a clinician, .er approach to treatin# children *as uite different from the traditional psychoanalytic one, She developed her ideas outside of the frame*ork created and sustained by the psychoanalytic community, She re:ected the idea that the child!s mind follo*s the same theoretical principles as the mind of an adult& and *as more interested

in furtherin# a rational and technical understandin# of the child!s output than one *ithin the psychoanalytic school!s theoretical formulations of child development and psychopatholo#y, Wantin# to be able to directly contact the mental and emotional life of a child& she endeavored to devise an instrument that *ould let a child demonstrate her or his emotional and mental state *ithout an adult!s intervention3 she discoura#ed both premature interpretation and transference, Stressin# that the child!s sand*orlds not be interpreted obtrusively& her lan#ua#e is concerned more *ith a co#nitive process than a se/ual& a##ressive conflictual e/perience ;8etti& '(('<, For 1o*enfeld& it *as important *as to be able to make an accurate record of the results& to keep a record of the child!s o*n demonstration, She described as her #oal Dthe achievement of an approach to the child!s mind ,,, both ob:ective in itself and susceptible of recordD ;1o*enfeld& '(H(<, .er e/perience *ith her World apparatus led her to conclude that its uality lay in its po*er of e/pression, -ts multi+dimensional nature permitted the child to present processes and concepts of differin# elements that *ere #oin# on simultaneously at different levels in the child!s psyche, "ynamic possibilities *ere an inte#ral part of the action orientation of the apparatus: it made no difference *hether the World the child presented *as static or dynamic, The process had the po*er to present states of mind *hich had been unkno*n because they *ere pre+ verbal, Most importantly& the process *as independent of skill insofar as it re uired no technical ability of any kind, The po*er of the techni ue *as impressive to those *ho *orked *ith it& and no less impressive to those *ho observed, Mar#aret 1o*enfeld had been *orkin# for nearly thirty years *hen& in '(AB& "ora M, 4alff& *ho *as then trainin# at the %,5, 5un# -nstitute in S*it2erland& observed several DWorldD demonstration sessions conducted by 1o*enfeld at a psychiatric conference held in Iurich, 4alff *as inspired, 9ncoura#ed by %,5, 5un#& she *ent to 1ondon to study *ith "r, 1o*enfeld and her associates, Althou#h 1o*enfeld did not consider herself a 5un#ian& her approach *as consonant *ith *hat has become 5un#ian sandplay theory and techni ue ;Farris& '(F(<, When 4alff returned to her home in Iollikon& outside of Iurich& she be#an her practice *ith children& *here she developed& usin# 5un#ian symbolo#y& her o*n version of the techni ue ;Weinrib& '(F?<, 4alff focused on the innate healin# potentials of symbols from the collective unconscious& represented by the miniatures available to the child for play, She predicated that the manifestation of the Self& notable in the sand tray representations& *as the primary means by *hich children overcome psycholo#ical difficulties, This approach *as uite different from 1o*enfeld!s verbally interactive techni ue that relied on the child!s co#nitive understandin# of his difficulties, Today& some si/ty years since 1o*enfeld first opened her clinic& the therapeutic modality kno*n as DsandplayD has no* become established as a speciali2ed form of psychotherapy, >f the ever+increasin# #roup of therapists and researchers practisin# *orld*ide& several thousand in number as of this *ritin#& the ma:ority in some *ay utili2e the analytical or archetypal theories of %,5, 5un#, Re#ardless of their theoretical orientation& ho*ever& sandplay therapists commonly use bo/es constructed accordin# to standard dimensions& appro/imately AHcm / H)cm / Hcm ;'(D / )FD / ?D<, The si2e of the bo/ is important& since the bo/ creates a frame *hich allo*s the ima#e or ima#es bein# created to be vie*ed *ithout movin# the head, The observer can take in everythin# that is #oin# on *ithin the frame of the bo/ in

a sin#le #lance& because the dimensions of the bo/ correspond to hisJher field of vision as sJhe stands in front of the tray, The bo/es& t*o in number& are half+filled *ith medium to fine sand& the te/ture of ordinary beach sand& and usually stand *aist+hi#h& or are located at such a level that the D*orldD can be made in it *ith the hands, %oarseness of the sand may vary& but *hen dampened *ith *ater& the sand must hold its shape for several hours& or at least the len#th of a session& about an hour, Some therapists choose sand of a different color for each tray, The interiors of the bo/es are painted blue so that *hen the sand is moved aside& *ater or sky may be indicated by a #limpse of blue, An e/tensive assortment of miniature ob:ects& absolutely inte#ral to the play& is located nearby, The miniatures may be of any type: children!s toys& model and hobby materials& curios& souvenirs& bibelots& handmade ob:ects& etc, The si2e and nature of the collection *ill depend upon the orientation of the therapist and the attributes of the patient population, For instance& therapists *ho practice *ith children& or disturbed adolescents or the handicapped mi#ht steer clear of precious or fra#ile ob:ects, Whatever its particulars& the collection of miniatures& placed on lo* or easily available shelves& is usually arran#ed in a number of cate#ories, These cate#ories are: 1ivin# creatures: ordinary people ;men& *omen and children< of every ethnic and racial type and from every period of history3 soldiers3 entertainers3 *ild animals and domestic animals3 Reli#ion& fantasy and myth: fi#ures and animals ;prehistoric& space a#e& and media+ driven<3 symbolic ob:ects3 Scenery: buildin#s of every kind& trees& flo*ers& bushes3 fences& brid#es& #ates3 Transport: for road& sea& air& and space3 Tools and e uipment: utensils for roads& to*ns& farms& #ardens& play#rounds& fairs& schools& homes& etc3 Ra* materials and miscellaneous ob:ects: stones& shells& marbles& bits of colored #lass& rocks& *ood& strin#& *ire& paper& plasticine& fabric, At the be#innin# of the appro/imately one+hour sandplay session& *ater is provided so that sand in one tray can be dampened3 the other tray!s sand is left dry, Any of the ob:ects in the room can be utili2ed to create ima#es ;or *orlds< in one or both of the trays, "urin# the session& the therapist #enerally *ill keep recordin# se uentially the patient!s activity in the trays, This is done by dra*in# a kind of map of the ima#e bein# made in the trays& usin# standardi2ed representations of the ob:ects and sometimes accompanied by sketches of the finished *orlds, These sketches sho*& on a hori2ontal plane& the sand *orld as it appears in the tray, Any verbal description made by the patient is noted ne/t to the ob:ect as it is bein# mappedJdra*n& *ith an indication of the se uential order of placement and verbali2ation, Remarks made by the patient durin# the process are placed in uotes ;1o*enfeld& '(H(<, When the sand *orld is complete& photo#raphs are taken to record the finished product, The photo#raphs record the patient!s completed sand *orld *ith all its miniatures& close+ups of clustered ob:ects& and& as *ell& the arran#ement of the sand in the trays after the miniatures have been removed, 9ventually these may be revie*ed by the therapist and patient to#ether, -nitially& ho*ever& the photo#raphs remain *ith the therapist, What the patient takes a*ay *ith her is the emotional after+effect of the ima#es she has made, After the

session& the miniatures are restored to their shelves and the sand is raked smooth once a#ain by the therapist, A sand picture is never dismantled in front of the patient, 0ot only *ould doin# so devalue the patent!s creation& it *ould break do*n the patient!s connection to her inner self& as *ell as her non+verbal connection to the therapist ;Weinrib& '(F?<, Accordin# to Ammann ;'(('<& the sand picture should be cleared a*ay by the therapist immediately after the hour, As *ith the sand+paintin#s of the 0ava:o& *hich are made solely for healin#& the patient!s sand picture should not remain lon# in the outer *orld, What is important is the ener#y of the inner ima#e, That ener#y is fundamental in sandplay& *hich provides direct access to the personal inner *orld of impulse and feelin#& and an opportunity for inarticulate patients to emer#e from inner isolation ;Weinrib& '(F?<, Althou#h sandplay as it is currently practiced is lar#ely in the hands of clinicians in private practice& some therapists are usin# it successfully in community and #overnment+funded clinics& schools and hospitals, The relevance and utility of this po*erful therapeutic tool for social *ork *ill be made evident in this report, ), Who uses sandplay& for *hat purpose and *ith *hat success

$liyana came to pick me up at the therapist%s house. &'ou%ve got to see hat she does,& I told her. &(hat do you do)& $liyana asked the therapist. In reply, the therapist led her do nstairs, opened a door and stepped inside. $liyana follo ed her in. Taking in the sandboxes in the center of the room, her eyes travelled slo ly over the thousands of miniatures filling the shelves hich lined the alls. &I see,& she said. &'ou do magic.& *alling silent for a moment, &The imaginable archetype,& she added. ;conversation& '(()< Mar#aret 1o*enfeld!s World Techni ue is the basis of sandplay as it is practiced today, "r, 1o*enfeld used sandplay in her 1ondon %linic for 0ervous and "ifficult %hildren, She noted the follo*in# ualities of the World Apparatus from *hich& she su##ested& its po*er of e/pression derived: its multi+dimensional nature& its dynamic possibilities& its po*er to present states of mind that had been previously unkno*n3 and especially its independence of skill ;1o*enfeld& '(H(<, 1o*enfeld!s World apparatus enabled her to open the doors of an interior *orld she *ould other*ise not have reached, The e/perience of *ar in 9urope had devastated children and adults alike& destroyin# the primal essence of many children and reducin# the interior lives of those adults *ho had fou#ht or been prisoners of *ar to the bleak depressions of infancy, 1o*enfeld took as her central mandate the psychotherapeutic task of makin# contact *ith the *hole of the patient!s mind& Dnot only by intuition but by direct and conscious kno*led#e and understandin# of the la*s of mind,D To this end her World Techni ue *as bent& and she duly noted its successes *ith disturbed children& and to adults *ho *ere able to use it as an aid to understandin# themselves and to

communicatin# *ith children, %redit for the subse uent development of sandplay as a form of 5un#ian therapy& follo*in# 1o*enfeld!s initial start& must #o to "ora M, 4alff& *ho trained most of the first+#eneration sandplay therapists no* in practice all over the *orld, 4alff initially used sandplay to *ork primarily& althou#h not e/clusively& *ith adolescents and children, Who uses sandplay and *ith *hat populations is it effectiveE The techni ue ori#inated as a form of child therapy and has been #enerally been commended as a techni ue that *orks *ell *ith children, This is because sandplay is& in part& play, 8lay& *hich can transcend the immediate needs of life& can impart meanin# to action, 4lein ;'(BG< has said that it is necessary for a *ell balanced life& *hile .ui2in#a ;'(HG< called it the Ddeterminin# characteristic of human sensibility,D 8lay functions as a brid#e bet*een the consciousness of children and their emotional life3 as *ell it connects them to other children and the si#nificant adults in their lives ;1o*enfeld& '(H(<, -n play& children symbolically represent fantasies& *ishes and e/periences in the same mode seen in dreams, -n a sense& says Weinrib ;'(F?<& the sand pictures can be vie*ed as an e/tended dream or prolon#ed state of active ima#ination that needs to *ork itself out, Reed ;'(HA< outlines the principles of sandplay as a form of play therapy, She found& in her practice& that the fre uently disor#ani2ed ener#y of an emotionally disturbed child needs e/pression& control and channellin#, She describes the three+dimensional approach of sandplay as bein# more efficacious and meanin#ful than verbali2ation and free play, She stresses the benefit of direct contact *ith the elements of sand and *ater& and the tactile processes re uired for sandplay activity, For Ammann ;'(('<& *orkin# in the sand tray can initiate a holistic psychic process that can both lead to healin# and further the development of the personality, $y usin# the sand trays& the hands are able to #ive shape to po*ers in the unconscious in a *ay that *ords cannot, She says sandplay is especially suited for adults and children *ho suffer from disturbances rooted in early childhood or of a narcissistic nature& because the process is able to lead the person back into the deeper layers of the early childhood psyche, 1o*enfeld ;'(H(< used her World Apparatus *ith violent children& and 4alff ;'(FG<& Weinrib ;'(F?<& Ryce+Menuhin ;'(()< and others of the 5un#ian school use sandplay to help patients of all a#es channel a##ressive outbursts& but Feldman ;'(FF< su##ests that sandplay may be counter+indicated as a form of therapy *here e/pression of ra#e and a##ression mi#ht result in in:ury to the child or the therapist, With respect to psychoses& all sandplay therapists are emphatic that any resistance to sandplay must be respected ;%hichester& '(F@<, Ryce+Menuhin ;'(()< prefers that adults ask for sandplay treatment themselves& rather than su##estin# it to them, .e says he has had some Dreal successD treatin# adult hysteria *ith sandplay, There are mi/ed reports as to the effectiveness of sandplay *ith schi2ophrenics& and it has been su##ested that a reluctance to play in the sand may be a dia#nostic indication of schi2ophrenia ;Weinrib& '(F?<, .o*ever& >da& Funai& and .a2ama ;'(F)<& *orkin# in 5apan& report successful therapeutic results *ith this population, Therapists *orkin# in hospital settin#s& primarily in -taly and 5apan& have utili2ed sandplay *ith a variety of mentally or emotionally disturbed patients ;Funai& >da and .a2ama& '(F)3 Aoki& '(F)<& and $aum ;'((G& '(()< uses sandplay successfully *ith the mentally handicapped& a patient

population susceptible to traumatic outbursts, -n %anada& "r, 0ehama $aum& a Toronto psychotherapist& has made a radical contribution to the field of sandplay therapy *ith her application of this modality to multi+handicapped children and adults& *ho had been considered by many to be both untreatable and unteachable, "r, $aum& herself the mother of a cerebral palsied child& speciali2es in the treatment of individuals *ith brain dama#e& developmental handicaps and emotional andJor psychiatric disorders, .er ori#inal *ork on a Multi+Focal approach to the treatment of individuals *ith a comple/ confi#uration of handicaps led to her establishin# the Muki $aum treatment centers in Toronto& for individuals sufferin# from developmental disabilities combined *ith severe emotional andJor psychiatric disorders, The t*o centers no* in operation are 'GGK funded by the Government of >ntario3 in them sandplay is combined *ith other therapies: music& art and drama& as *ell as verbal& client+centered non+directive modalities, "r, $aum has pioneered the use of sandplay therapy in %anada for this population ;$aum& '((G3 '(()<, -n September& '(()& the Association is openin# three #roup homes in Toronto3 sandplay therapy *ill be an inte#ral part of the pro#ram in each, >ther practitioners have brou#ht sandplay into schools& *here it is bein# used in the classroom as a tool for facilitatin# learnin# ;0oyes& '(F'3 %hichester& '(F@<, 9nvisionin# bein# able to :oin its therapeutic effect to its effect on co#nitive processes& %hichester ;'(F@< investi#ated the method!s usefulness in implementin# learnin#, .er sub:ects *ere primarily Grade @ students *hose skill level did not match their kno*n ability, These children had been dia#nosed as poor performers& underachievers relative to their ability level, %onsent of their parents *as obtained before they participated in the study, The sand trays *ere located in a private nook in the classroom created *ith the :udicious use of a foldin# screen, >nce a *eek& each child *as #iven a @A+minute period in *hich to create a sand *orld, The activity *as self+determined3 a child could choose not to utili2e the sand trays after time had been set aside for her& and some children chose not to play from time to time, The childrens! sandplay play *as unmediated by an adult& but the children *ere encoura#ed to *rite essays about their sand*orlds after they had completed them, %hichester& *ho describes her use of sandplay in the classroom as Datypical&D reports increased readin# level scores in a si#nificant number of children follo*in# sandplay over the course of their school year, She observes that some of the children in her study *ere able to use sandplay as an outlet for a##ression and su##ests that the sand trays offer Da safe and secure place *here demonic ener#ies can be transformed,D 0oyes ;'(F'< also reports considerable improvement in children!s readin# scores after she introduced sandplay into first #rade classrooms, -nterestin#ly& she notes that she believes the !va#ue #uilt! she felt *hen she first be#an lettin# children DplayD durin# readin# instruction time *as due to her o*n confusion about the difference bet*een teachin# and learnin#, Sandplay is also used as a therapeutic tool by school counselors ;Allen& '(FF3 Allen and $erry&'(FH3 Linturella and 5ames& '(FH<, Allen ;'(FF< reports on the use of sandplay in #uidance counselin#& *here treatment usually comprises F+'G sessions, The counselor *itnesses the process of play& and interpretation is seldom needed, -ssues seem to be resolved or are understood on an unconscious& symbolic level& as the play itself makes the inner problem visible and allo*s therapeutic movement and #ro*th, At

termination& the counselor sho*s the child all the photo#raphs& and sketches& if any *ere made& of the sand*orlds& as a means of revie* and discussion, There are some therapists *ho are attemptin# to inte#rate various other therapeutic modalities into sandplay& rather than connectin# sandplay to other modalities in a unified treatment pro#ram consistin# of Dseparate but e ualD forms of treatment, %arey ;'(('<& for e/ample& *ritin# from a 5un#ian perspective& has used sandplay in family therapy, She *rites that introducin# sandplay into a family therapy conte/t aids inte#ration& communication and boundary definition, Throu#h sandplay& family alliances can be observed and unconscious contents of the family system are rapidly revealed, %arey reports ;personal communication& '(()< that she did not deliberately seek to introduce sandplay into family *ork3 rather& adults in families *ho came to her center seekin# therapy for a child family member sa* the sand trays and *ere dra*n to them, 9ncoura#in# family members to *ork to#ether in the trays brou#ht relief to some of %arey!s families& and their successes have led her to continue this e/periment, Glen ;'(FF<& a sandplay therapist in .a*aii *ho *orks principally *ith children& also concerns himself *ith other members of the child!s family, Glen states that he *as influenced by the *ork of the American family therapist Lir#inia Satir& and decided to incorporate a version of Satir!s family map as a part of the developmental history intake procedure in his Sandplay Systems *ork, -n the family system itself& ho*ever& Glen permits only the child access to the sand trays, .e describes his family systems approach as an De/pansive communications net*ork :oinin# the child+client& the therapist& and the parent;s<,D This he accomplishes by creatin# an Don#oin# communications path*ayD bet*een parents and the therapist throu#h a Dparental limited+partner relationship,D 4im ;'(()< has used sandplay in con:unction *ith drama therapy, She constructed a circular sand tray ;?(D dia,< that *as used to represent Dthe dream *orldD in a #roup psychotherapy e/perience, 4im& an art therapist *hose focus is the shamanic e/perience of drama& has been usin# sandplay as one step in a se uence of therapeutic processes, She uses first dreams& then sandplay3 these measures are follo*ed by mask+ buildin#& mask+decoratin#& mask+enactment& body+tracin#& body+castin# or life si2e puppet+makin#& and finally& dream performance& to brin# on a cathartic release, 4im!s use of the sand tray to enhance individuals! sharin# of e/perience in a #roup echoes that of Mi2ushima ;'(H'3 in Farris& '(FF<& *ho used sandplay *ith #roups in 5apan, Mi2ushima encoura#ed members of the #roup to add to a tray in turn& or to verbally comment on the tray, This *as to allo* individuals to e/press their inner *orlds to others and thus free them from the limits and fi/ations of their individual e#os, %rayston ;personal communication& '(()<& *orkin# in Montreal& uses sandplay as an ad:unct to body *ork& especially yo#a, .e does not consider himself to be a sandplay therapist& and does very little documentin# of patients! sandplay processes& sometimes takin# a picture of a patient!s completed tray and then su##estin# to the patient that various fi#ures or parts of the tray could be rearran#ed to Dchan#eD the situation, The sand tray thus serves as a miniature sta#e in *hich a scene is set& the characters placed& *ith the therapist actin# as dramatur# to the patient!s play, %rayston reports usin# a sandplay process to help a patient *rite a report, The patient& *ho had developed a *ritin# block& told the story that had to be *ritten do*n in the report& *hile usin# the sand tray as a miniature sta#e, %rayston took notes *hile the patient demonstrated the action of the story& handed the patient the notes at the end of the session& and told him to

#o home and *rite up his report, The patient *as able to unblock the *ritin# process after havin# used %rayston!s sandplay materials as a visual communication tool, ;0ot all %rayston!s creative efforts *ith the medium have been so positive& ho*ever3 he once encoura#ed a patient to make a sand picture in an initial evaluation session, When he interpreted the picture for the patient and told him *hat they D*ould have to *ork onD in the course of therapy& the patient fled and never returned,< -n this case& the therapist!s verbali2ation of his therapeutic assessment *as a premature statement3 it *as e/perienced by the patient as an invasion of his re uirement for a Dfree and protected spaceD ;4alff& '(FG<& *hich is emphasi2ed in the 5un#ian literature: !The therapist# does not as a rule offer ... information nor does he press for associations or confront the patient in any ay. The aim of sandplay is to offer really free play devoid of rules and in safe circumstances. It offers an opportunity for being and doing ithout encumbrance ;Weinrib '(F?<, Therapy aside& sandplay is also used as a pro:ective test ;a procedure or device that can be used to infer an individual!s personality traits& attitudes& propensities& or feelin#s throu#h responses to va#ue& ambi#uous or unstructured stimuli<, The most prominent of these pro:ective psycholo#ists *as %harlotte $uhler& *ho identified different styles of sand *orlds& each of *hich could indicate a type of malad:ustment, $uhler ;'(A'< reduced the number of ob:ects available for play *hen she devised the World Test& *hich utili2ed the follo*in# cate#ories: aggressive: scenes concerned *ith officially reco#ni2ed force& accidents& dan#er& or other violence ;a si#n of a##ression but not necessarily of emotional disturbance<3 emptiness: too fe* elements& indicatin# escape& *ithdra*al& passive resistance3 may also reflect temporary blockin# or a reaction to the test3 can also be partially related to a#e3 !"se#: use of many enclosures indicatin# a need for protection& for concealin# feelin#s& separation& imprisonment& seclusion& self+defense3 disor#ani2ation: indicatin# varyin# de#rees of confusion or lack of inte#ration of the personality& dependin# upon the a#e of the child3 coupled *ith a##ression& implies more e/treme confusion& includin# decompensation& e#o disinte#ration3 rigi#it$: elements arran#ed in ri#id ro*s indicatin# compulsive trends to*ards perfectionism& e/cessive orderliness& constriction& obsessive fears, s$m%"!i signs: containin# Dsymptoms not yet uantifiable,D The World Test *as developed by $uhler as a pro:ective instrument to assist in the dia#nosis of various clinical #roups& but 8etti ;'(('< reports that other researchers *ho follo*ed $uhler determined that her cate#ories *ere better used to differentiate *ell+ad:usted children from the emotionally disturbed& rather than for discriminatin# bet*een dia#nostic cate#ories, 1o*enfeld herself had discoura#ed any standardi2ation of the apparatus and all scorin# methods because she *as convinced that the utility of the techni ue lay in its psychotherapeutic value, .er belief in its clinical utility has been firmly entrenched by the 5un#ian therapists *ho have adopted the method& and *ho are #enerally disinterested in sandplay as a pro:ective test or dia#nostic measure, Sandplay is nevertheless still used *ith notable success for some types of

assessment, 1i ;'(FA< evaluated play levels of children described as handicapped or retarded, Lolcani ;'(F)<& %aproni ;'(F(<& and Se#al ;'((G< record usin# sandplay as a dia#nostic measure *ith individuals, Ga2ur ;personal communication& '(FH< uses sandplay dia#nostically in her *ork as a career counselor, Mason ;'(FH< has used the medium to assess couple interaction, 1enhart ;'(FF< has e/plored the ran#e of symbolic lan#ua#e used by a particular #roup, Lolcani ;'(F)< utili2ed sandplay in con:unction *ith other measures or tests, ?, My introduction to the sandplay process

+sychological riting is al ays a confession about the riter%s o n psychology. ... It is a continuation of one%s o n analysis. ,obody can really understand these things unless he has experienced them for himself, ;%,5, 5un#& in .umbert& '(F@<, -n the late+FG!s& - *as introduced to sandplay at an annual meetin# of intercultural consultants, My attention riveted by *hat - sa*& - *anted immediately to see ho* sandplay *orked, >n Monday& May (& '(FF& - entered the upper West Side 0e* 6ork %ity apartment and sandplay studio of 9stelle Weinrib& a 5un#ian sandplay therapist, >n one *all *as an armless couch ;a DrealD analyst!s couch& - thou#ht& a bit nervously<3 on the other& a hi#h shelf lined *ith black dra*in# books over a note+takin# desk and chair, Flankin# the door*ay *ere five floor+to+ceilin# shelf+cases filled *ith miniatures& icono#raphic fi#ures of all kinds: people of all sorts3 birds3 boats3 beasts3 edifices to create habitats3 cars3 natural ob:ects3 etc, Ri#ht ne/t to the shelf cases stood t*o smallish *aist+hi#h trays filled *ith clean sand, At the far end of the room& a *all of *indo*s looked out on West FBth Street, More artifacts ++ lar#e crystals& stones& bits of *ood& shells& and fi#ures& stood on lo* tables in front of the *indo*s, -n response to my admirin# comment on the si2e& comple/ity and apparent completeness of her collection& 9stelle replied that the practice of her profession *as Da #ood e/cuse for #ratifyin# #reed,D >h yes& - thou#ht& *ith a sur#e of e/citement, Since early childhood -!d been intri#ued by 1illiputian buildin#s stocked *ith perfectly scaled replicas of this and that& as *ell as by collections of tiny thin#s on *hat+not shelves, $ut my pleasure in such static displays& *here the purpose of the collection *as simply adornment or decoration& had al*ays been tempered by an impression of their triviality, To the idea of collectin# such thin#s for a purpose& the enhancement of a dynamic& playful& potentially aesthetically satisfyin# therapeutic process& - *as immediately responsive, As - stood e/aminin# the miniatures on her shelves& 9stelle settled into her chair and took out a pen and paper, What - found irresistible *as a set of carved *ooden pueblos ;reminiscent of .undert*asser!s apartment buildin# in Lienna or Gaudi!s Sa#rada de Familia in $arcelona<3 these& 9stelle said& had been made by DS*iss hippies,D - picked one up and& holdin# it in my left hand& a*k*ardly be#an pattin# the sand in one of the trays *ith my ri#ht, Seein# my tentative s*ipes& 9stelle took the pueblo from my hand and planted it firmly do*n on the sand in the tray in front of me + the dry tray, 0o& not there& it doesn!t belon# there& *ent a blurt in my head, - snatched up the pueblo and placed it in the damp tray& then added others& one by one, To me& the moist tray represented the *orld& the *orld outside& the e/ternal *orld,

- found myself *ei#hin# the effects of scale& stru##lin# *ith the effort& tryin# to maintain as e/act a scale as - could& as literal a reality representation as the materials and my ima#ination *ould permit, Sculptin# a lake& mountains& to*ns and a city& - placed a little train in the mountain pass& heavy ceramic and metal buildin#s& a tiny %hinese coolie& and a sampan in the city& a stevedore in the to*n& farm animals and farmer on his land& a sailin# boat and fish on the lake, Turnin# my attention to the mountain ran#es& - fitted them out *ith trees& then a tiny fro# *ith a cro*n on his head, Finally& a pair of bears& one lar#e and one small, The small one must be the cub ,,, a moment of panic *ith the lar#e one sittin# at the north end and the little one placed at the south: - must move it: - moved the cub ne/t to the mother ,,, ;illustration '<, Workin# in the damp tray developed some literal sense of place& my place& but soon - *as dra*n to the tray of dry sand and be#an to make use of the t*o trays simultaneously, The dry sand crumbled a*ay from my fin#ers as - traced a circle in it, placed an un#la2ed orno ;an outdoor oven one sees in the South*estern USA& a po*erful icon connectin# the hearth *ith nourishment<& s uarely in the middle of the circle -!d dra*n in the dry sand, - made a path of shells& stones and crystals& then arran#ed a coiled snake in one corner, Tiny birds *ent around a flat& circular mirror belo* the snake, A bird!s nest *ith t*o blue birds in it cau#ht my eye, This *ent ne/t to the snake& alon# *ith the Lir#in Mother and St, 1ucia ++ she *ith the candles in her hair, - told 9stelle *as on my *ay from the orno ;the dry tray< to our place in the mountains ;the damp tray<, ;illustration )< -n the days follo*in#& - found my creations stayed clearly before my mind!s eye, - repeatedly returned to and revie*ed my precise mental ima#es of my DsecretD miniature *orlds& and they #radually became my concrete possession, My mental revie* a*akened me to discreet but si#nificant differences bet*een the ima#e pro:ections and the real *orld, The mental ima#es of these first t*o pictures became more discreet& more personal& as time *ent on3 they stayed *ith me& retained their po*er and clarity& and they seemed to help me hold fast to a psychic center, A month after the first session& the therapy continued& and - met *ith 9stelle once a *eek durin# 5une and 5uly of that summer, 0ot all those sessions *ere occupied *ith *ork in the sand trays but in the first one after my return from $%& the sand *orld - made in the damp tray *as my picture of the confusion and tumult of the city around me, 8lacin# fi#ures& re+e/periencin# the chaos and disorder of the fast+movin# treadmills of the city outside the door& practically over*helmed me, With #reat difficulty - added a delicate bird& attached to a stick& Dto oversee the chaosD ;illustration ?<, D9at *atermelon&D 9stelle said as - departed& referrin# to a miniature in the dry sand tray& devoid of human fi#ures ;illustration @<, %ompared to the relative precision and hei#htened a*areness of the first t*o sessions& at the end of the ne/t fe* - felt inconclusive& couldn!t e/plain the meanin# of my *orlds as - *as creatin# them& and *as not able to recall the ima#es clearly after*ards, At the time& these memory lapses seemed like deficiencies3 this *as in itself disturbin#, 9ach set of sand*orlds after the first t*o seemed totally different from the initial pair& and not as different from each other as the first t*o had seemed, -n any case& - could not attempt to be literal in any of them, -n one session& a fan& a nest of colored e##s& a male

fi#ure& an obelisk& brid#es& fish& boats& a lar#e uart2 crystal& a buildin#& all *ent in the damp sand ;illustration A<, - didn!t reco#ni2e the meanin# of any of these ob:ects& couldn!t say *hy - had placed them *here - did& yet they had to #o *here they did: of that - *as sure, The same *as true for the dry sand& onto *hich *ent clear blue marbles& a lar#e hunk of amethyst& an animal& a female fi#ure ;illustration B<, The sand patterns *ere *avy& the dra*n circle an oval& like an e##, The last t*o pictures *ere full of movement& *ith female fi#ures movin# in from all four uadrants& althou#h - could not say *hy that had to be so, An#er& frustration& an odd kind of disorientation characteri2ed this period, When first be#an *orkin# *ith the sand trays& - *as optimistic& buoyed by e/citement and intuition& an e/pectant leap of faith into a process that had instantly appealed to me, As pro#ressed in the process& - be#an to e/perience deep feelin#s of loss& abandonment and incompleteness3 althou#h& parado/ically& - also felt stron# M as if - *ere accomplishin# :ust *hat -!d set out to do, 9ven thou#h - didn!t kno* *here - *as #oin# or ho* lon# it *ould take me to #et there& *hat - reco#ni2ed *as that it *asn!t necessarily fri#htenin# not to kno*, Larious forces contributed to this permissible irresolution, >ne *as 9stelle!s describin# ho*& havin# been throu#h a normal 5un#ian analysis& she!d #one to Iurich& to "ora 4alff& for help in solvin# a problem she!d been havin# *ith her son3 9stelle remarked that sandplay had made her life Dpossible,D Another *as her e/cellent piece of advice: if - *anted to become a sandplay therapist& - should study for a Master of Social Work& rather than a 8h", An MSW& she informed me& *ould be the best #roundin#& the best preparation for *ork as a therapist3 it *ould also be the surest& uickest route to certification, At this& - *as ama2ed3 but her directive made instant& perfect sense, Ddidn!t kno* it *as called !social *ork&!D *as my comment3 but some of the :umble of my life re+arran#ed itself in an orderly *ay around that sudden ne* insi#ht, 0evertheless& *hat follo*ed *as a transitional& liminal time, - felt precarious& tentative, Tryin# to find inner calm& *aitin# for reflection or recollection to occur in tran uility& as Words*orth said one should ;to *rite poetry<& - could not hold to#ether in my mind!s eye the picture+pieces of any of the sand*orlds -!d made after the first t*o, Try as - did to recall them& to focus on them& they remained obdurately& obstinately hidden3 in fact& they seemed locked behind a blank screen& a barrier, My confusion *as palpable& as if some terribly important part of me must have been livin# on the other side of that barrier, - thou#ht of >ctavio 8a2!s Dimpalpable& transparent *all ++ that of our consciousness ++ bet*een the *orld and ourselves,D -nitially& -!d been motivated to learn about sandplay therapy because& *orkin# *ith school children labeled Ndisadvanta#ed&7 - felt - needed an appropriate tool, After all& said the en#ineerJmechanic in me& one can never have too many appropriate tools, thou#ht of ac uirin# sandplay& of learnin# it& as one mi#ht perfect a ne* skill, The actual immediate effect the *ork had on me& ho*ever& *as deep psychic turmoil& unleashed + - daresay& by the process, The e/perience itself& short as it may have been& became the teacher, A little& in my case& *ent a lon# *ay, 9arly in '(()& revie*in# the collection of photos ;slides< 9stelle had taken of the sand trays -7d made in '(FF& - *as startled to see ho* much ener#y and po*er each of the ima#es contained, 9ven more startlin# *as ho* the meanin# of the ima#es& each one flo*in# from the previous one& yet independent of it& had also chan#ed,

What is more& in the course of e/aminin# my o*n process& *hile revie*in# the literature for this research report& my recall of the ima#es - had made be#an to clear& as *hen one *alks out of a mist, - be#an to see the distance - had travelled, @, .o* sandplay *orks3 understandin# and interpretin# the process The sand picture produced by the child can be interpreted as the threedimensional representation of a psychic situation. $n unconscious problem is acted out in the sandbox, like a drama. The conflict is transposed from the inner orld to the external orld and thus made visible. This play of imagination does not remain ithout a reaction on the psyche of the player. -ather the sand play influences the dynamics of the unconscious in the child ;4alff& '(BB<, The DdramaD in the sandbo/ is created by the manipulation of miniature ob:ects& utili2ed for their symbolic effect, Sandplay is thus a form of symbolic healin#, The symbolic ob:ects are said to act both as vocabulary and as e/planation& since symbols chan#e the psyche by convertin# ener#y into a different form, Symbols& accordin# to 5un#& act as transformers& their function bein# to convert the libido from a !lo*er! into a !hi#her! form, This function is so important that feelin# accords it the hi#hest value ;5un#& '(AB<, -n symbolic healin#& cure is said to come about in response to the presentation of a symbol from *ithin or *ithout, This may happen slo*ly or immediately& yet *henever it occurs& formerly separated compartments of the psyche are brou#ht to#ether& precipitatin# a forceful release of ener#y that prompts a feelin# of relief, There is a sense of arrival& of bein# in the moment& of self+possession& of bein# at home in one!s self, This moment of truth& *hich is the outcome of an individual!s uest for harmony *ith her surroundin#s and peace of mind *ithin& may actually be the be#innin# of a ne* uest: the uest to remain in& or to reproduce at *ill& that state, Accordin# to 4alff ;'(H'<& the creation of ima#es in sandplay& *hich she described as essentially an introverted act& is a form of Western meditation, $y contrast& 9astern meditation systems tend to be ima#eless& *hereas 4alff!s vie* *as that *hile Westerners may be dra*n to 9astern systems& increasin#ly the meditation of the West *ill deal *ith ima#ery, Sandplay is one e/pression of this ;%rable& '(HB<, The sandbox provides us ith access to !the# innermost feeling cores and permits a process to be set into motion hich has as its hopeful result a connection to the central, eternal spirit, hat .ung has called the "elf or the ob/ective psyche, hat 0aslo has called the biological basis of the psyche, ;4alff& '(FG< Sandplay has achieved its present place in the field of psychotherapy principally as a form of 5un#ian analysis& *hich in its classical form is dominated by verbal processin# of dreams ;Sin#er& '(H?3 Fordham& '(HF3 Mattoon& '(HF3 5ohnson& '(FB3 Stein& '(F)3 .umbert& '(FF3 "ou#las& '(('<, The dream+*ork process is called !active ima#inin#&! *hich is dreamin# #uided by oneself or another person *hile rela/ed and alert, The analytical element of the process takes place in a #uided confrontation bet*een the conscious and the unconscious mind of a person, The analyst at once

encoura#es and enables understandin# of the associative process of the patient& throu#h a verbal dialo#ue that takes place bet*een the analyst and the patient, Althou#h sandplay constructions may be& but are not al*ays& literal representations of a patient!s dreams& the connection bet*een the t*o of them is the *ay in *hich they both are forms of archetypal ima#inin#& and the archetypal content of both, Many therapists reco#ni2e the insufficiency of lan#ua#e as a tool of inter+personal understandin#, Lerbal forms of therapy are sub:ect to the stren#ths& but also to the *eaknesses& of lan#ua#e& *hich are after all only one form of e/pression& and one primarily connected *ith the rational side of consciousness, A person may lack the *ords to e/press verbally *hat tri##ers a particular emotion because sJhe is unconscious as to *hat caused it, An important part of sandplay!s particular #enius is the *ay in *hich it permits the therapist to make contact *ith a patient and play *ith him to understand his *ay of thou#ht, Thus& sandplay is seen as contributin# an important complement to lan#ua#e+ based therapeutic practices, In the verbal analytical process, the thrust is to ard etiological and teleological understanding and the expansion of consciousness. "ymbolic material emerging from the unconscious and the stuff of everyday life is integrated into consciousness as soon as possible. In sandplay, a ruminative, contemplative process, understanding is less important than the healing process itself ;Weinrib& '(F?<, Weinrib ;'(F?< also differentiates bet*een psycholo#ical healin# and the e/pansion of consciousness: healin# implies that there has been a *oundin# and possible impairment of natural or#anic function *hich has been remedied *ith functionin# restored, 9/panded consciousness implies a*areness of *hat one feels& thinks and does *ith a capacity to make choices in one!s actions and communication that are relatively free of control, The sandplay process allo*s tellin# a story throu#h makin# a material ima#e+ picture: a three+dimensional scene in a tray of sand of fi/ed dimensions usin# miniature fi#ures and ob:ects, Miniaturi2in# the *orld in this *ay is said to reduce some of the unmana#eable stresses or pressures on the patient& and allo*s himJher to e/perience better control of thou#hts& fantasies& and feelin#s ;Glen& '(FF<, The limitation of the sand tray ultimately assists the patient in his or her o*n limit+settin# capacity ;%arey& '((G<, Amman ;'(('< says that sandplay utili2es a small space to help a patient to achieve the si#nificant therapeutic personal task& that of findin# the healin# or developmental forces *ithin herJhimself, The material ima#e+pictures created in the sand trays have a profound effect on the patient, The very production of these ima#es can act as a form of control as *ell as a form of release, This is a characteristic of ima#e+formation in a therapeutic conte/t, 1ecause of its emotion-evoking ability, image formation can also be used purposefully 2although not necessarily consciously3 to transform emotions. It is close to perception and close to affect and it allo s memories to be treated as if they ere current perceptions of ob/ects. Image formation also permits disguises and shifts of meaning, hich, if represented in ords, might be more difficult to disguise. 4isual

images allo immediate depictions of ob/ects in relationship due to the simultaneous organi5ation of information in a single image ;.oro*it2& '(F?<, 4alff ;'(FG< and Weinrib ;'(F?< identify the sta#es in sandplay therapy by the content of the ima#es: a< realistic scenes& indicatin# problems and their possible resolution3 b< more chaotic pictures& si#nifyin# rapid penetration into deeper levels of the personality3 c< ima#es of centerin#& unions of opposites& overtly reli#ious symbols& accompanied by a sense of havin# touched !home&! indicatin# a touchin# or constellatin# of the Self3 d< revie*in# the slides& an e/perience *hich reinforces the transpersonal3 e< re#ularly and orderly pictures in *hich fi#ures of the opposite se/ be#in to appear& indicatin# the emer#ence of the reborn e#o ;these may take on a more creative character and be better or#ani2ed<3 f< reappearance or appearance for the first time& of spiritual fi#ures ;as the process comes to a close<, A si#nificant problem that arises is the therapist!s interpretation of the ima#e+ symbols in sandplay& *hich is sub:ect to considerable variance, Althou#h there are numerous encyclopaedias of symbols adducin# the meanin# of various ob:ects& sandplay therapists from 1o*enfeld on throu#h today issue stron# cautions a#ainst assumin# the meanin# of any #iven ob:ect used in the therapeutic conte/t, ,o ob/ect ... and no arrangement of ob/ects, should be taken at its face value ... . !*#or the proper understanding of the nature and use of this techni6ue no interpretation !should# be given by the therapist to the child. 0y o n direct use of the material in the presence of the child is to treat it like a cipher language, and concentrate my attention on an endeavour to discover hat exactly the ob/ects used represent to the child ho uses them ;1o*enfeld& '(H(& emphasis in the ori#inal<, $ny symbol can have many interpretations. It is therefore incumbent upon the therapist to check rigorously any interpretation or hypothesis he may infer, against the reality of the patient%s life, his attitudes and behavior, and the context of the verbal analytical process ;Weinrib& '(F?& emphasis added<, Assumptions about ob:ect meanin#s are uite controversial, Ryce+Menuhin ;'(FB< has called it one of the real dan#ers therapists face *hen interpretin# sandplay, Accordin# to Ryce+Menuhin ;'(()<& *hat is needed to *ork *ith symbols is an !as+if! uality& since they act as brid#es bet*een *hat is familiar and *hat is stran#e, The 5un#ian therapist *ill evaluate the sand pictures in the li#ht of 5un#ian symbolo#y and any archetypal ramifications that su##est themselves, Weinrib ;'(F?< recommends delayed interpretation& because deliberately pressin# for associations durin# the therapy session *ould encoura#e cerebral activity, This *ould not be desirable& since it is a basic premise of 5un#ian sandplay that psycholo#ical healin# is emotional in nature and not cerebral, The therapist is free to use any indications or ideas derived from the sandplay process in any subse uent or accompanyin# verbal discussion3 and in fact the

patient!s response to the introduction of the therapist!s ideas provides one *ay to check on the validity of the therapist!s readin# of the patient!s ima#e pictures, %ertainly facile interpretations are to be avoided: 1o*enfeld ;'(H(< e/plains that a horse& for e/ample& may represent somethin# feared to one child& Da dearest friendD to another& Da stron# thin# *hich runs&D or D*hat "addy rides&D and so on, Symbols are so rich in meanin# that it is impossible to fi/ upon a sin#le interpretation *ithout peril, For e/ample& Ammann ;'(('< refers to the snake as Dan ancient symbol of nature!s healin# po*er&D thus contradictin# an alternative impression of the snake as a creature to be feared or even hated3 *hile Ryce+Menuhin ;'(()< points out that snakes icono#raphically represent both the feminine and masculine principles& deeply rooted somatic and archetypal processes& measures and boundaries or borders of the unconscious& and moreO The use of masculine or feminine fi#ures in the sand trays may #ive an indication of the patient!s relationship to the masculine and feminine archetypes *ithin the Self, The archetypes are devoid of content until personal e/perience renders them visible ;Gordon& '(FA<, The pictures created in the sandtrays are a *ay of ima#inin# archetypal forms, The female archetypal symbols are manifested in ob:ects si#nifyin# the feminine principle, The sand tray itself has been called a feminine symbol3 it is e uated *ith the hermetic vessel of alchemists& called the vas hermeticum, This vessel& in *hich a psychic transformation takes place& ori#inally referred to a vessel filled *ith spirit and sent do*n to earth by a creator+#od so that those *ho aspired to a hi#her consciousness could be bapti2ed in it, The vas acted as a kind of *omb in *hich spiritual rene*al and rebirth could take place, Thus& in the 5un#ian therapeutic conte/t& sand trays containin# their miniature sand *orlds act as a vessel in *hich psychic transformation can occur ;Ammann& '(('<, -n addition& representations of the feminine principle and the masculine principle may be revealed by the placement and #roupin# of ob:ects, For e/ample& threes& in 5un#ian psycholo#y& are masculine3 t*os and fours are feminine, Throu#h the therapy process& the therapist helps the patient make retrospective connection bet*een the visual ima#es and her or his inner and outer life, At the same time& the patient may spontaneously reco#ni2e the connections bet*een the symbolic meanin# of herJhis sandplay pictures and herJhimself, Given the richness of the symbolic vocabulary in sandplay touched upon briefly here& it *ould obviously be impossible to deal e/haustively *ith this sub:ect in this paper, -n fact& the topic of archetypal symbolism is a lifetime adventure& an al*ays+open #ate*ay to discovery and revelation, At the '(() Sandplay Therapists of America conference& entitled DSand& 8syche and Symbol&D presentations touch on diverse archetypal forms includin# $uddhist creation myths ;M, 4alff<& Uroboros ;Lon $obo<& "on 5uan& the Grim Reaper& the *icked man& the *ise old man ;1arsen<& the Wildman ;Weller<& and so on, >ut of such fascinations is classical 5un#ian sandplay made, A, Trainin# in sandplay therapy and ho* people become reco#ni2ed as sandplay therapists The psyche heals itself. +sychotherapy helps ;Wilmer& '(FH<, "andplay is more than a tool. It is also an expression of the therapist, as a

creative personality, ho relates to the patient both personally and symbolically at an extremely deep level ;4alff& '(F'< Sandplay is a youn# therapeutic modality& developin# over appro/imately si/ty years into its present form, As has been e/plained& some teachers and counselors use sandplay in or as an ad:unct to classroom activity& for the modality!s reported capacity to improve children!s co#nitive learnin# ability, Research psycholo#ists *ho classify sandplay as a pro:ective measure may employ the medium primarily for dia#nostic purposes& rather than as therapy, Some practitioners& often *ith a 5un#ian perspective& use sandplay in addition to& or in combination *ith& other forms of therapy& but at this time most sandplay therapists are psychotherapists utili2in# a 5un#ian frame*ork to *ork *ith individuals& *hether children or adults, Whatever their orientation or trainin#& *herever they come from and *hatever they did before& it seems to be a fascination *ith the medium and its method that makes people involved in the helpin# or healin# professions *ant to become specialists in sandplay therapy, Ammann& *ho is also an architect& says I as attracted to the sandplay method from the moment I first encountered it. One reason for this attraction surely lies in my love of images and three dimensional forms. This has al ays been close to my heart, especially as I like to use my hands. $nother reason for my preference may lie in the fact that I experienced early in life the ay in hich one can use one%s senses in a differentiated ay ithout ords ;Ammann& '(('<, -n 5un#ian sandplay practice& the essential contribution of the therapist is to provide a free and protected space for the therapy, The actual therapeutic task remains the task of the seeker: the healin# or developmental forces are *ithin, Throu#h the manifestations of the unconscious in the form of dreams& fantasies& ima#es of various kinds& or in our case& throu#h sand pictures& the PpatientQ seeks contact *ith his Self& or& to put it more simply& *ith the !other! sides of his psyche ;and his body<& *hich have been repressed or for#otten or never did have the po*er to emer#e into consciousness, ,,, The PtherapistQ cannot !do it! for the PpatientQ ++ that is& he cannot as if by pro/y live this psychic process for him, 6et& he too e/periences it !*ith one :oyful and one *atchful eye,! ;Ammann& '(('< Most adherents to 5un#ian principles of analytical or archetypal psycholo#ical practice speciali2e in sandplay as a form of individual therapy, A ma:ority of the Dfirst+ #enerationD sandplay therapists no* in practice *ere trained by "ora 4alff, -n addition to maintainin# a *ell+established child therapy practice& for many years 4alff provided trainin# analyses at her home in S*it2erland& and #ave clinical seminars on sandplay re#ularly, Since '(FA& her home in Iollikon& outside Iurich& has been the head uarters of the "ora M, 4alff -nternational Society for Sandplay Therapy& founded as a trainin# and clinical research #roup, Until she *as *ell in her FG7s& 4alff travelled e/tensively all over the *orld to lecture on sandplay& establishin# sandplay as a form of 5un#ian analysis and Dsin#le+handedly creatPin#Q a community of sandplay therapists around the *orldD ;Ste*art& '(F)<,

The -nternational Society of Sandplay Therapists ;-SST< is the trainin# #roup for sandplay therapists, The number of -SST members is& as of this *ritin#& about 'GG& an e/tremely small number in proportion to the more than t*o thousand practicin# sandplay therapists *ho are members of various national or#ani2ations& includin# #roups in the USA& -taly& Germany& Great $ritain& S*it2erland& 5apan& Australia& and S*eden, Furthermore& not all clinicians usin# sandplay belon# to any special sandplay therapists! #roup& nor do they all call themselves Dsandplay therapistsD even if they do use sandplay in their therapeutic practice, Members of the -SST teach introductory and advanced courses and also provide individual supervision ;Dcontrol&D in S*it2erland< to trainees& *ho are then eli#ible to :oin the -SST and become trainers themselves, Althou#h not a le#al re#ulatory body per se& the -SST has established firm #uidelines for the trainin# of sandplay therapists in the 5un#ian tradition, Accordin# to a report by 1enhart ;'(FF<& ualifications for membership in the society include: advanced education in psycholo#y or a related field3 clinical e/perience *ith patients3 in+depth inner development throu#h personal therapy as *ell as accreditation or accepted licensure to practice psychotherapy3 completion of a personal sandplay process3 one hundred hours of trainin# in sandplay therapy& at least half spent in #roup presentation and discussion of cases& the remainin# time spent studyin# theory3 a minimum of t*enty hours of individual clinical supervision3 t*o papers of appro/imately ten pa#es in len#th each& about aspects of sandplay of special interest to the individual3 and finally& submission of a completed case study& appro/imately thirty pa#es in len#th& *ith photos and slides of the patient!s completed sand trays, -n 0orth America& publicly+funded establishments utili2in# sandplay therapy ;such as the Muki $aum Foundation in Toronto& *hich is 'GGK supported by the Government of >ntario<& are at best rare at this time, -n the USA& clinicians trained as sandplay therapists are usually in private practice, At the present time there are but a handful of fully ualified sandplay therapists in eastern %anada, The t*o *ith #reatest e/perience are 0ehama $aum& a member of the -SST *ho is no* trainin# sandplay therapists in Toronto3 and 6vonne Federer& also a member of the -SST& *ho& upon her return to %anada from Iurich& established a private practice in >tta*a, -t should be noted that the financial outlay for be#innin# a sandplay therapy practice is considerable, Uni ue miniatures can actually be uite e/pensive3 established sandplay therapists can fairly claim to have several hundred or even thousands of miniatures in a #iven collection, -f the therapist is not settin# out in private practice& the administration of the practice settin# must be able to allocate an ade uate appropriate space for the materials& and permit dedication of the therapist!s time not only to the sessions themselves& but to the concomitant record+keepin# tasks, As *ell& there must be sufficient financial compensation to cover essential practice e/penditures such as photo e uipment and supplies for record+keepin#& and& until a saturation point is reached& au#mentation of the miniature collection, B, Further directions3 issues in theory and practice Sandplay& *hich acts as a brid#e from the individual unconscious to the social *orld& is a creative process, The fact that no real skill is involved in makin# sand

pictures makes the sandplay process particularly appealin#, -t is an e/tremely po*erful therapeutic modality& and moves the psychotherapeutic process much faster than many other methods, Unlike predominantly verbal therapies& it can en#a#e people *ho can!t #et out of their heads as *ell as those *ho can!t say *here it hurts, These are often the kind of people *hom social *orkers see, My o*n e/perience *ith the sandplay process has reinforced my intuitive& first+si#ht conviction that it is a tool *orth havin# and - am motivated to use it in the professional practice of Social Work, - am convinced that sandplay can be an effective healin# e/perience for both adult and child patients in a clinical practice, 0ot*ithstandin# its successes& there are several issues - *ould like to raise *hich any social *orker or practitioner mi#ht discuss or debate3 these may secure further directions for my o*n research& clinical and community *ork& and teachin#& as *ell as for the *ork of others, - *ill present four problems - see that relate to the nature of sandplay therapy: '< the spirit of symbolic healin#3 )< the intellectual tradition of sandplay3 ?< the nature of ima#es formed durin# sandplay3 and @< the #ender aspects of ima#e+interpretation, B,' Symbolic healin# We undertake all therapy& *hether in social *ork or another milieu& under a dominant paradi#m, The predominance of %artesian rationalism in Western thou#ht has led to the tendency to dichotomi2e healin#: healin# is either Nphysical7 or Nmental,7 After fi#urin# out *hat the sick part is& medicine can #o in and fi/ it, There is much support for such intervention& a product of the evolution of the scientific method, Whether the intervention is sur#ical or psychiatric& the results are valuable and need not be li#htly dismissed3 they are the miracles of modern medicine, $ut the emphasis on support for medically permissible manipulation and control of human bein#s does tend to reduce the practice of healin# to various forms of mechanical Dtinkerin#,D An alternative *ay of approachin# the problem of illness& *ellness and healin# is more holistic, If e postulate that the human mind has a basic need to remain integrated and in harmonious relation ith its parts, e must reali5e that this can only be done ith the readiness to tolerate much pain and conflict. To avoid the &legitimate pain,& as .ung called it -- the pain of being alive in a conflicted orld -- the psyche has the automatic ability to disassociate one part of itself from another and remain unconscious of its sacrifice. If the pain gets too great it can be shut off or amputated, but feelings go ith it 2"ander, 78983. If disassociation goes far enough and the energy is strong enough, the result may be unconscious alteration of the personality. $n inability to resolve conflict is a conse6uence of experiencing the apparent impossibility of affirming the hole of one%s nature. (hat occurs is a struggle for autonomy. If the result is disassociation and compartmentali5ation, psychological, social or political incapacity can occur 2"andner, 78983.

-n contrast to the rational analytic models of practice underlyin# most of Western medicine& sandplay emphasi2es the human need for inte#ration, -t is a form of symbolic healin#& *hich does not rely on detailed scientific kno*led#e of bodily or#ans, Rather& symbolic healin# relies for its effect on the patient!s ability identify *ith supernatural or intra+psychic po*er throu#h the mediation of symbols, -t is based on ritual and myth& not on physiolo#ical principles, -n such a system& both the cause and the cure of an illness are connected to a #reater mytholo#ical *hole3 both cause and cure are seen a#ainst the supernatural back#round of a person!s life, ;Sandner& '(H(<, "ifferent symbolic healin# ceremonies utili2e a common conceptual frame*ork& the sta#es of *hich may or may not occur se uentially, The first sta#e is usually called Reparation or 8urification3 the second& 8resentation or 9vocation3 the third& -dentification3 the fourth& Transformation3 the fifth& Release, T*o or more of these sta#es in symbolic healin# may overlap, There are four similar sta#es identified in 5un#ian psychotherapy: confession& elucidation& education& and transformation ;"avidson& '(FH<, 4alff ;'(FG< says the correspondin# sta#es in sandplay therapy do not appear as discrete entities nor in a strictly #iven order& but rather in a spiral manner& reminiscent of the one *hich 1o*insky ;'((G< has called Nloopin#,7 Symbolic healin# ceremonies are typical of 0ative cultures& *hile 5un#ian analysis and sandplay therapy are a product of Western ;and to some e/tent& 9astern< cultures, Understandin# the sta#es of these therapies from a transcultural perspective is a practical as *ell as a theoretical concern, - believe it *ould be useful to identify the connections and elucidate the rational and symbolic conver#ences bet*een these various sta#es& and to focus on the stren#th of sandplay as a symbolic healin# system& prior to or *hile introducin# sandplay into clinical and community social *ork settin#s in the First 0ation territories of %anada, ;This is *hat - envision myself as doin#,< B,) The 0eoplatonic tradition %onsciousness inevitably is located in time, $ecause humans are temporal creatures& it is of more than academic interest to ask *here our ideas have come from, -n fact& kno*led#e of the historical evolution of our ideas is crucial if *e are to understand *hy *e see and act in the *orld as *e do, Archetypal theory is one such idea, Therefore& the history of archetypal theory and *hat it means as an idea is *orth considerin#, The basic philosophic idea of archetypes& *hich is central to sandplay as a 5un#ian healin# practice& can be traced back to 8lato, 0a#y ;'(('< is emphatic about the 8latonic ori#in of 5un#!s archetypal theory& but admits that the connection bet*een 5un#!s doctrine of archetypes and 8lato!s doctrine of forms is difficult to see, .o*ever& *hen .illman ;'(F'< says that 5un#!s archetypal psycholo#y a/iomatically assumes the relevance of DfantasiaD or ima#istic e/perience& *hich is a ramification of the 8latonic doctrine of forms& he places 5un#ian interpreters of sandplay firmly in the 0eoplatonic tradition elucidated by Lico, Accordin# to Lico ;'BBF+'H@@<& ima#inative representations ;such as those created throu#h symbolic healin# systems like sandplay< do not arise from a rational process ;Grassi& '((G<, %ultural artifacts ;in an anthropolo#ical sense& *hich includes

such creations as miniature fantasy *orlds constructed in sand trays< cannot be understood& interpreted& evaluated& in terms of timeless principles and standards valid for all people every*here, -nstead *e must seek to obtain a correct #rasp of the purpose and peculiar use of the symbols *hich uni uely belon# to a particular time& place and sta#e of social #ro*th, This re uires a kind of transcendental deduction of historical truth& obtained throu#h a particular form of kno*led#e *hich Lico called the Nreconstructive ima#ination,7 The reconstructive ima#ination is a form of kno*led#e obtained by enterin# into the mental life of other cultures& into a variety of outlooks and *ays of life, -t is not a method of arrivin# at an unchan#in# reality via its chan#in# appearances& but a *ay of apprehendin# a chan#in# reality throu#h observin# its systematically chan#in# modes of e/pression, Lico!s conclusion *as that it is the activities of the ima#ination ;or DfantasiaD< *hich make this ne* form of kno*led#e possible, -t is to this ima#e+activity *hich .illman ;'(F'< refers, A theoretical problem for further research is ho* precisely this aspect of sandplay can be situated in the 0eoplatonic tradition& as it must be the reconstructive ima#ination *hich makes ima#e+interpretation ;the use of archetypal symbol+systems< possible, B,? -ma#e+formation Sandplay therapy involves the production of ima#es& instruments of co#nition, -ma#es enable us not only to understand stimuli and meanin#s& they also help us deal *ith problems of livin# ;Greenleaf& '(HF<, >ne issue mental science+oriented researchers mi#ht e/plore is the e/act nature of the formation of ima#es in the sandplay process, Some ima#es are retained in the mind of the patient, These after+ima#es& as they are called& are a distinct classification ;.oro*it2& '(F?<& one type of *hich is eidetic, These are especially vivid memory ima#es& *hich have a multi+dimensional aspect: the ima#e itself3 its accompanyin# somatic pattern ;a set of bodily feelin#s and tension includin# somatic correlates of emotion<3 and its co#nitive or e/periential meanin#, To#ether these leave a semi+permanent impression far stron#er than their separate elements, -ma#es of the picture or pictures created in the sand trays are mentally carried a*ay from the therapy room after they have been constructed, Mental recall of them may affect the patient, -t may be that the patient!s impression of the sand picture is a kind of eidetic ima#e& an especially vivid kind of memory ima#e, The e/perience of eidetic ima#ery is apparently more fre uent in childhood& as the capacity seems to diminish or is lost *ith adolescence3 only a small percenta#e of adults appear to retain it, -t *ould be interestin# to discover if sandplay encoura#es an e/perience of& enhances& or even rea*akens& eidetic capability, 9vidence of a connection bet*een sandplay and eidetic ima#ery is speculative, -n addition to the fact that sandplay is a relatively ne* form of therapy& speculation about eidetic ima#ery itself has been sub:ected to severe criticism from the scientific community ;.aber et al,& '(H(<, To my kno*led#e& no researchers have attempted to test the retention of sandplay ima#es in li#ht of the criteria for identifyin# eidetic ima#es, A related une/plored area of research *ould be an investi#ation of this aspect of sandplay in relation to eidetic psychotherapy, 9idetic psychotherapy& *hich ori#inated in

8akistan& uses a ma#ical model& similar to the 5un#ian active ima#ination, Unlike 5un#ian therapy& eidetic psychotherapy focuses on the multiplicity of states that comprise the personality rather than the unity of e#o structure *hich makes them adhere ;Sheikh& '(F?<, B,@ -ma#e+meanin# Sandplay is a formal and po*erful ima#e+makin# activity system *hich mediates& *ithin a #iven cultural system& the e/perience of the unconscious, The choice and placement of ob:ects in sandplay is profoundly sub:ective& and constructions cannot be un ualifiedly universali2ed& althou#h there may be ready a#reement bet*een therapists ;and patients< as to the meanin# of any #iven tray, This raises some interestin# uestions about the effect of cultural variables on sandplay ima#e+makin# activity, >ne aspect of culture that has profound conse uences for social *ork practice is the attitudes held about men and *omen, -t mi#ht be possible to e/amine this problem by lookin# at the meanin# of the archetypal feminine ima#es in 5un#ian sandplay therapy, Archetypes& *hich are described as universal e/periences of the collective unconscious& are constellated& accordin# to 5un#& as feminine and masculine, 5un# contributed to clinical theory by e/plorin# and describin# the character and uality of the feminine as it appears in symbols& myth& and alchemy, .e affirmed the presence and the importance of both masculine and feminine elements in each #ender& allo*in# for the e/pression of the attributes or ualities of the opposite se/ in each, 5un#ian practitioners distin#uish the masculine and the feminine principle from masculine and feminine traits ;Ulanov& '(F'<, -n 5un#ian sandplay therapy& understandin# the meanin#s and definitions of the archetypal masculine and feminine principles ;*hich 5un# called the animus and the anima< *ill also have important ramifications for practice& as both the patient!s and the therapist!s attitudes to*ards the feminine and *omen *ill determine the treatment of patients of both se/es, Accordin# to Sullivan ;'(FF<& the feminine principle seeks Dan embodied relationship to the *orld&D *hile the masculine principle Dreaches to*ard the *orld of the spirit,D Where the Feminine accepts the *ei#ht of the body& an acceptance that necessarily includes the #ruesome ills of the body and its ultimate death& the Masculine seeks to transcend the body and death, Where a feminine vie*point ur#es us to emotionally e/perience our #roundin# in our physical incarnation& to rela/ into our bein#& a masculine approach seeks the immortality of achievements that *ill live after one!s physical death ;Sullivan& '(FF<, 6et this aspect of #ender+related theory continues to under#o subtle revisions as it is sub:ected to a variety of influences and criticisms, >ne of the most important levels of criticism directed at 5un# and this aspect of 5un#ian theory has come from feminists, The most substantial *ork on this topic to date has been *ritten by a practicin# 5un#ian analyst and clinical psycholo#ist& %laire "ou#las, The Woman in the Mirror ;'((G< is an e/haustive survey of the history and a revie* of the literature on the feminine in 5un#ian psycholo#y, Accordin# to "ou#las& 5un# *as able to make the

crucial distinction bet*een the feminine as a psycholo#ical concept and as a #ender classification, .o*ever& his ideas about the feminine *ere conditioned by the beliefs and e/pectations of his era and by his o*n e/perience and personality, The traditional 5un#ian e uatin# of the feminine *ith 9ros& feelin#& the contained& and the masculine *ith 1o#os& thinkin#& the container& is not sufficient today, -t is unacceptable to treat *omen and the feminine as representative of the unconscious or diffuse consciousness& rele#atin# themJit to the related and passive modes, Woman!s psycholo#y is not simply opposite to and complementary to man!s, The conceit that men and *omen belon# in separate& even if e ual& spheres is Dan ill+conceived anachronismD ;"ou#las& '((G<, "ou#las thinks the risin# use of sandplay itself may be a manifestation of style and focus that reflects the effect *omen are startin# to have on clinical practice, There has not been #reat clarity in 5un#ian thinkin# about *omen and the feminine, - think the animus and the anima should be re+e/amined in li#ht of the increasin# body of psycholo#ical and anthropolo#ical evidence that diver#ent vie*s held about the Self fall into t*o basically distinct& culturally proscribed cate#ories ;Markus R 4itayama&'(('<, These cate#ories contrast an Nindependent7 vie* of the Self *ith an Ninterdependent7 vie*, - propose to e uate the animus *ith the independence vie* and the anima *ith the interdependence vie*, This interpretation is an outcome of thinkin# about the animaJanimus problem ;the problem of the feminine< in 5un#ian psycholo#y *hile simultaneously readin# transcultural psychiatry literature in the conte/t of the po*erful insi#hts of current Western feminist scholarship ;Gilli#an& '(F)3 Miller& '(HB3 $elenky et al& '(FB<, This interpretation of the anima+animus problem is one - intend to elaborate on and refine in my future *ork *ith sandplay, %>0%1US->0 My studies at McGill have confirmed& for me& the truth of 9stelle Weinrib!s instruction that obtainin# #roundin# in social *ork *ould be the best preparation for future *ork *ith sandplay, This is due to the fact that social *ork trainin# involves the reflective practitioner in a *ide variety of personal and community issues *hich& throu#h sandplay& can be brou#ht to the surface even if they are e/tremely difficult to articulate, %onse uently& althou#h in 0orth America sandplay is predominantly used *ith individuals *ho can pay for private practice& my e/perience leads me to believe that the introduction of sandplay therapy into a variety of professional Social Work settin#s *ill be truly beneficial, As time #oes on& more e/tensive studies on sandplay *ill be available& and cost+effectiveness studies in various practice settin#s may determine its therapeutic usefulness or special effectiveness *ith dru# abusers or other chemically addicted patients& prisoners& abused youth& and so on, To this discussion& a caveat is in order, Althou#h it is a form of play& and a *onderful form at that& sandplay therapy is not simply Dfun,D -mmense psycholo#ical turmoil can manifest durin# sandplay, Lirtually all sandplay therapists and researchers observe that sandplay has the capacity to Ndred#e7 from the unconscious the deepest of inner problems& and transport them into the e/ternal *orld, 0evertheless& there are individuals *ho have adopted the tools& the materials and the methods *ithout havin# under#one a formal trainin# period, Unless a therapist is kno*led#eable in the method and is also capable of dealin# *ith any

difficulties that may arise durin# the development of the course of therapy& sandplay is a dan#erous method ;%rable& '(HB3 Weinrib& personal communication3 '(FF& '(()<, -t should not be used by amateurs, $-$1->GRA8.6 Abt& 1a*rence 9,& and 1eopold $ellak& eds, 8ro:ective 8sycholo#y: %linical Approaches to the Total 8ersonality, 0e* 6ork: 4nopf& '(A), Allen& 5ohn, -nscapes of the %hild!s World: 5un#ian %ounselin# in Schools and %linics, "allas& TC: Sprin# 8ublications& '(FF, Allen& 5ohn& and 8at $erry, DSandplay,D -n :lementary "chool ;uidance and <ounseling, )'& no, @ ;April '(FH<: ?GG+?GB, Ammann& Ruth, .ealin# and Transformation in Sandplay: %reative 8rocesses $ecome Lisible, Wolf+"ieter 8eter Rainer& trans, 1a Salle& -1: >pen %ourt 8ress& '((', $aum& 0ehama T, DTherapy for people *ith dual dia#nosis: treatin# the behaviors or the *hole personED -n Treatment of 0ental Illness and 1ehavioral =isorder in the 0entally -etarded, +roceedings of the International <ongress. May ?+@& '((G, Anton "osen& Adriaan van Gennep& Gose*i:n 5, I*anikken& eds, Amsterdam and 1eiden: 1o#on 8ublications& '((G: '@?+'AB, SSSSSSSS , DThe phenomenon of playin# *ithin the process of sandplay therapy,D -n Mental Retardation and Mental .ealth+ The Way Ahead, 0icholas $oras& ed, ;to be published in Great $ritain& fall& '(()<, $eebe& 5ohn& ed, Money& Food& "rink& and Fashion and Analytic Trainin#: "epth "imensions of 8hysical 9/istence, Fellbach: $on2& '(F?, $elenky& Mary Field& $lythe McLicker %linchy& 0ancy Rule Goldber#er& and 5ill Mattuck Tarule, Women!s Ways of 4no*in#: The "evelopment of Self& Loice& and Mind, 0e* 6ork: $asic $ooks& '(FB, $erlin& -saiah, Lico and .erder: T*o Studies in the .istory of -deas, 0e* 6ork: Likin# 8ress& '(HB, $o*yer& 1aura Ruth, The 1o*enfeld World Techni ue: studies in personality, >/ford and 0e* 6ork: 8er#amon 8ress& '(HG, $rad*ay& 4atherine& 4aren Anne Si#nell& Geraldine Spare& %harles T, Ste*art& 1ouis ., Ste*art& 5r,& %lare Thompson, Sandplay Studies + >ri#ins& Theory and 8ractice, San Francisco: %,G, 5un# -nstitute& '(F', $uhler& %harlotte, DThe World Test& a pro:ective techni ue,D -n .ournal of <hild

+sychiatry, ) ;'(A'<: @+'), SSSSSSSS , DThe World Test manual of directions,D -n .ournal of <hild +sychiatry, ) ;'(A'<: B(+F', %aproni& 8eter M, Sandplay: *indo* on the representational *orld + a pro:ective adaptation of 1o*enfeld!s *orld techni ue, UM-: unpublished 8h,", dissertation& Adelphi University& Gordon F, "erner -nstitute of Advanced 8sycholo#ical Studies& '(F(, %arey& 1ois, DFamily sandplay therapy,D -n $rts in +sychotherapy, 'F n, ? )?'+)?(, ;'(('<:

SSSSSSSS , DSandplay therapy *ith a troubled child,D -n $rts in +sychotherapy, 'H n, ? ;Fall '((G<: '(H+)G(, %armody& 5ohn $, Self+restoration and initiation in analytical child therapy: >bservations on sandplay, UM-: unpublished 8h,", dissertation& Saybrook -nstitute& '(FA, %hichester& %herie, Sandplay in the %lassroom, unpublished Master!s thesis& 5ohn F, 4ennedy University& '(F@, %rable& 8auline G, Women and self: An initial investi#ation of the feminine essence usin# sandplay, UM-: unpublished 8h,", dissertation& United States -nternational University& '(HB, "orothy "avidson, Revie* of DA Sonata in the Sand&D by 5oel Ryce+Menuhin ;.arvest& '(FB<, -n .ournal of $nalytical +sychology, ?) n, ? ;5uly '(FH<: )(G+)(', "ou#las& %laire, The Woman in the Mirror: Analytical 8sycholo#y and the Feminine, $oston: Si#o 8ress& '((G, "undas& 9valyn, Symbols %ome Alive in the Sand, 1ondon and $oston: %overture& '(HF, Falck& .ans S, Social Work: The Membership 8erspective, 0e* 6ork: Sprin#er& '(FF, Farris& Thomas A, The personality profile and sub:ective e/periences of adult sandplay users, UM-: unpublished 8h,", dissertation& %alifornia School of 8rofessional 8sycholo#y& '((G, Feldman& $rian, D8sychotherapy of a psychotic child,D -n 5un#ian %hild 8sychotherapy: -ndividuation in %hildhood, Mara Sidoli and M, "avies& eds, 1ondon: 4arnac $ooks& '(FF, Fordham& Michael, 5un#ian 8sychotherapy: A Study in Analytical 8sycholo#y,

%hichester: 5ohn Wiley and Sons& '(HF, Frye& 0orthrop, The Great %ode: The $ible and 1iterature, 0e* 6ork: .arcourt $race and 5ovanovitch& '(F), Gilli#an& %arol, -n a "ifferent Loice: 8sycholo#ical Theory and Women!s "evelopment, %ambrid#e& MA: .arvard University 8ress& '(F), Glen& $ruce 1, Sandplay systems *ith children: A theoretical and clinical e/perimental study, UM-: unpublished 8h,", dissertation& Union for 9/perimentin# %olle#es and Universities& '(FF, Gordon& Rosemary, D1osin# and findin#: The location of the archetypal e/perience,D -n .ournal of $nalytical +sychology, ?G ;'(FA<: ''H+'??, Grassi& 9rnesto, DLico Lersus Freud: %reativity and the Unconscious,D -n Lico and .umanism: 9ssays on Lico& .eide##er& and Rhetoric, 0e* 6ork: 8eter 1an# 8ublishin#& '((G, Greenleaf& 9ric, DActive -ma#inin#,D -n The 8o*er of .uman -ma#ination: 0e* Methods in 8sychotherapy, 5erome 1, Sin#er and 4enneth S, 8ope& eds, 0e* 6ork: 8lenum 8ress& '(HF: 'BH+'(B, .illman& 5ames, Archetypal 8sycholo#y: A $rief Account: To#ether *ith a %hecklist of Works, "allas& TC: Sprin# 8ublications& '(F', .oro*it2& Mardi 5on, -ma#e Formation and 8sychotherapy, 0e* 6ork: 5ason Aronson& '(F?, .ui2in#a& 5ohan, .omo 1udens: A Study of the 8lay 9lement in %ulture, 0e* 6ork: .arper and Ro*& '(HG, .umbert& 9lie G, %, G, 5un#: The fundamentals of Theory and 8ractice, Ronald G, 5albert& trans, Wilmette& -1: %hiron 8ublications& '(F@, 5ohnson& Robert A, -nner Work: Usin# "reams and Active -ma#ination for 8ersonal Gro*th, San Francisco: .arper and Ro*& '(FB, 4alff& "ora M, DThe Archetype as a .ealin# Factor,D -n +sychologia -International .ournal of +sychology in the Orient, ( ;'(BB<: 'HH+'F@, SSSSSSSS , Sandplay: A 8sychotherapeutic Approach to the 8syche, Santa Monica& %A: Si#o 8ress& '(FG 4aplan& 1ouise 5, Female 8erversions, 0e* 6ork: "oubleday& '((',

4lein& Melanie, The 8sychoanalysis of %hildren, 0e* 6ork: Grove 8ress&'(BG, 4im& 5insook, DFacilitatin# ritual process throu#h the use of e/tended pro:ective techni ues in drama therapy: An anthropolo#ical approach,D -n >orean 1ulletin of <linical $rt, H ;'(()<, 1enhart& "ou#las S, The children of Ganymede: an investi#ation into the symbolic lan#ua#e of #ay men throu#h the use of sandplay therapy, UM-: unpublished 8h,", dissertation& Union for 9/perimentin# %olle#es and Universities& '(F(, 1i& Anita 4, F, DTo*ard more elaborate pretend play,D -n 0ental -etardation, )? n, ? ;5une '(FA<:'?'+'?B, 1o*enfeld& Mar#aret, The World Techni ue, 1ondon: Geor#e Allen and Un*in& '(H(, 1o*insky& 0aomi Ruth, DThe Motherline: May *e carry our mothers forth in our bellies,D -n +sychological +erspectives, )? ;'((G<: '?)+'AG, Markus& .a2el R, and Shinobu 4itayama, D%ulture and the self: -mplications for co#nition& emotion& and motivation,D -n +sychological -evie , (F n, ) ;'(('<: ))@+)A?, Mason& 1aura $, Assessin# couple interaction *ith the sandplay method, UM-: unpublished 8h,", dissertation,& University of %alifornia& '(FH, Mattoon& Mary Ann, Applied "ream Analysis: A 5un#ian Approach, Washin#ton& "%: L,., Winston and Sons& '(HF, Miller& %arol& and 5ohn $oes, DTears into diamonds: Transformation of child psychic trauma throu#h sandplay and storytellin#,D -n $rts in +sychotherapy, 'H n, ? ;Fall '((G<: )@H+)AH, Miller& 5ean $, To*ards A 0e* 8sycholo#y of Women, $oston& MA: $eacon 8ress& '(HB, Mi2ushima& 4, DArt therapies in 5apan,D -n Thomas A, Farris, The personality profile and sub:ective e/periences of adult sandplay users, UM-: unpublished 8h,", dissertation& %alifornia School of 8rofessional 8sycholo#y& '((G, Moon& Meredith, Sandplay: A transpersonal perspective, UM-: unpublished 8h,", dissertation& -nternational %olle#e& '(F@, 0oyes& Mary, DSandplay ima#ery: an aid to teachin# readin#,D -n $cademic Therapy, 'H n, ) ;0ovember '(F'<: )?'+)?H, >!%onnell& A#nes& and 0ancy Felipe Russo& eds, Women in 8sycholo#y: A $io+ biblio#raphic Sourcebook, 0e* 6ork: Green*ood 8ress& '((G,

8etti& 8atrick L, Sand*orlds and ob:ect *orlds: A psychoanalytic and ob:ect relations approach to sandplay, UM-: unpublished 8h,", dissertation& %alifornia School of 8rofessional 8sycholo#y& '((', Reed& 5eannette 8ruyn, Sand Ma#ic: 9/perience in Miniature + A 0on+verbal Therapy for %hildren, Albu uer ue: 58R publishers ;privately printed<: '(HA, SSSSSSSS , 9mer#ence: 9ssays on The 8rocess of -ndividuation throu#h Sand Tray Therapy& Art Forms& and "reams, Albu uer ue: 58R publishers ;privately printed<: '(FG, 5oel Ryce+Menuhin, 5un#ian Sandplay: The Wonderful Therapy, 1ondon and 0e* 6ork: Routled#e&'((), SSSSSSSS , DA Sonata in the Sand,D -n ?arvest. ?) ;'(FB<: H?+F?, Sandner& "onald, 0avaho Symbols of .ealin#, 0e* 6ork: .arcourt $race and 5ovanovich& '(H(, Se#al& 5udith, Sandplay: a validation of study of sandplay as a pro:ective techni ue, UM-: unpublished 8h,", dissertation& Adelphi University& Gordon F, "erner -nstitute of Advanced 8sycholo#ical Studies& '((G, Sharp& "aryl, %, 5, 5un# 1e/icon: A 8rimer of Terms and %oncepts, Toronto: -nner %ity $ooks& '((', Sherlock& 8hyllis 4raft, DThe feminine =+Set: 0e* research on Wolff!s feminine ima#es and theories,D -n The .ournal of $nalytical +sychology, )( ;'(F@<: 'FH+'(F@, Sheikh& Anees A, -ma#ery: %urrent Theory& Research and Application, 0e* 6ork: 5ohn Wiley& '(F?, SSSSSSSS ,D9idetic psychotherapy,D -n The 8o*er of .uman -ma#ination: 0e* Methods in 8sychotherapy, 5erome 1, Sin#er and 4enneth S, 8ope& eds, 0e* 6ork: 8lenum 8ress& '(HF: '(H+))@, Sidoli& Mara& and M, "avies& eds, 5un#ian %hild 8sychotherapy: -ndividuation in %hildhood, 1ondon: 4arnac $ooks& '(FF, Sin#er& 5erome 1, and 4enneth S, 8ope& eds, The 8o*er of .uman -ma#ination: 0e* Methods in 8sychotherapy, 0e* 6ork: 8lenum 8ress& '(HF, Sin#er& 5une, $oundaries of the Soul: The 8ractice of 5un#!s 8sycholo#y, Garden %ity& 06: Anchor $ooks& '(H?,

Solomon& .ester M, DArchetypal psycholo#y and ob:ect relations theory: .istory and communalities,D -n .ournal of $nalytical +sychology, ?B ;'(('<: ?GH+?)(, Stein& Murray& ed, 5un#ian Analysis, 1a Salle& -1: >pen %ourt& '(F), Sullivan& $arbara Stevens, 8sychotherapy Grounded in the Feminine 8rinciple, Wilmette& -1: %hiron 8ublications& '(F(, Ste*art& 5r,& 1ouis ., DSandplay and 5un#ian analysis,D -n .ungian $nalysis, Murray Stein& ed, 1a Salle& -1: >pen %ourt& '(F), Ulanov& Ann $elford, Receivin# Woman: Studies in the 8sycholo#y and Theolo#y of the Feminine, 8hiladelphia: Westminster 8ress& '(F', Lolcani& 6oni& Gary Stollak& 1ucy Fer#uson and .elen $enedict, DSandtray play: %hildren!s fantasy play and parental care#ivin# perceptions,D 8aper presented at the Annual Meetin# of the American 8sycholo#ical Association& Washin#ton "%: Au#ust )?+)H& '(F), Weinrib& 9stelle 1, -ma#es of the Self: The Sandplay Therapy 8rocess, $oston: Si#o 8ress& '(F?, SSSSSSSS , D>n delayed interpretation in the practice of sandplay therapy,D -n The Arms of the Windmill: 9ssays in Analytical 8sycholo#y in .onor of Werner ., 9n#el, 0e* 6ork: %,5, 5un# Foundation& '(F?, Wells& .,G, Floor Games, 1ondon: "ent and %o,& '('', Wilmer& .arry A, 8ractical 5un#: 0uts and $olts of 5un#ian 8sychotherapy, Wilmette& -1: %hiron 8ublications& '(FH, Wolff& Toni, A Fe* Thou#hts on the 8rocess of -ndividuation in Woman, Iurich: Sprin# 8ublications& '(@', Iusne& 1eonard, $io#raphical "ictionary of 8sycholo#y, Westport& %T: Green*ood 8ress& '(F@, 8U$1-%AT->0S ALA-1A$19 -0 1A0GUAG9S >T.9R T.A0 90G1-S. Funai& Tetsuo, DSandplay representations in chronic schi2ophrenics,D -n >yushu ,europsychiatry, ?A n, ' ;April '(F(<: 'G+)G, Funai& Tetsuo& Takao >da& .idebumi .a2ama, DThe values of therapeutic sta#nation in sandplay,D -n >yushu ,euro-psychiatry, )F n, ?+@ ;"ecember '(F)<: )BG+)BH Golfeto& 5ose ., D8sicoterapia infantil: Una aborda#em 5un#uianaD ;%hild psycholo#y: A

5un#ian approach<, -n $r6uivos 1rasileiros de +sychologia @' n, ? ;5une+Au#ust'(F(<: H(+(@