transpersonal movement-expression to build trust/respect within diversity: sharing...
DESCRIPTION
Within a sacred space, participants explore and share personal knowledge of self-formation, and its relation with diversity. Transpersonal movement and expression provides the container for personal narrative/arts to emerge. Concepts such as ethnicity, physical disabilities, gender, sexual orientation, socio-economical status, religious beliefs, ideology, and culture among others, are discussed. The transpersonal movement expression based on Carl Rogers’ work promotes a climate of safety, respect, inclusion, and belonging to explore self-identity while finding a voice to acknowledge cultural differences and similarities in an empathic, non-judgmental, supportive, and nurturing environment.TRANSCRIPT
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D2
Transpersonal Movement-Expression to build trust/respect within Diversity:
Sharing self-identity’s knowledge supported by unconditional regards
Rosa Granadillo-Schwentker PhD, R-DMT
Institute of Transpersonal Psychology
California Institute of Integral Studies
Transpersonal Integrated Energy Therapies
Abstract
Within a sacred space, participants explore and share personal knowledge of self-
formation and its relation with diversity. Transpersonal movement and expression
provides the container for personal narrative/arts to emerge. Concepts such as ethnicity,
physical disabilities, gender, sexual orientation, socio-economical status, religious
beliefs, ideology, and culture among others, are discussed. The transpersonal movement
expression based on Carl Rogers’ work promotes a climate of safety, respect, inclusion,
and belonging to explore self-identity while finding a voice to acknowledge cultural
differences and similarities in an empathic, non-judgmental, supportive, and nurturing
environment.
Description
The purpose of this workshop is to introduce participants to transpersonal
movement expression as a tool to explore self-formation, self-concept, cultural identity,
and to concepts linked to diversity. This is done in a climate of trust for each other’s
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differences while exercising unconditional regard, which involves accepting a person
without judgment of any kind.
In this world of racial and cultural differences, cultural identity emerges as an
ever-evolving construct, implying that the exposure to different realities shifts our
behavioral and ideological existence. Thomas & Schwarzbaum (2011) suggest that while
individuals are in relationship with other people, organizations, institutions, and the
community, their views of reality and personal consciousness change (p.5-6). An
individual’s identity can be and is affected by her/his affiliation to her/his racial-cultural
groups entrenched in local and broader sociocultural contexts (McRae & Short, 2011, p.
31). Understanding the importance of proper and effective skills aimed to engage
individuals from diverse backgrounds in our work is imperative. McRae & Short (2011)
talk about how using proper principles and standards while working with diverse groups
can allow for the emergence of an environment of respect and integrity for individual and
group differences (p.13).
Carl Rogers accentuates the importance of laying aside the views and values you
hold for yourself in order to enter another's world without prejudice or evaluation. In this
context, human beings are defined as self-actualizing creatures whose core is plagued by
a positive drive for perfection. For Rogers, the goal of the individual is to become himself
[herself] (Rogers, 1961, p.108).
While searching and sharing our cultural identity, movement as integrative
process tends to bring a sense of awareness and relationship among body, mind, feeling,
and spirit, revealing unknown and unexplored parts of the self (Halprin in Levine &
Levine, p.135). Movement is used in working with themes of interaction and relationship,
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which are explored repeatedly to help clients transcend their possible sense of isolation
(McNiff, 1981, p.115). Our bodies contain our life stories (Halprin, 2003, p.17). These
stories include our sense of self and the history of self-formation with our values and
culture-ideological perceptions and social presence. In dance movement therapy and
movement expression, the emphasis is on the relationship of self and community within a
frame of expression, and in the sharing of energy to validate our being (Chaiklin, 2009, in
Chaiklin & Wengrower, p.5).
The transpersonal dimension of this work is present while we respect the ever-
flowing of consciousness in the here and now, being in the present, not in the past, not in
the future, just in the here and now, unconditionally supporting the client. Transpersonal
movement expression involves moving from the sacred essence of the being, or heart,
thus experiencing genuine spiritual awareness. This sacredness is at the core of the self,
or true personal self, that is taken as the divine perfect spiritual space inside us. Natalie
Rogers (1993) mentions the close relationship between transpersonal and spiritual
experiences (p.199); we agree with her in the sense that the arts may invoke the spirit that
emerges while stepping into a non-ordinary state of consciousness.
Carl Rogers’ congruence, empathy, and respect toward the individual translate
into unconditional consideration, helping in the development of a healthy and vibrant
self-concept and self-identity. Since empathy involves a substantial amount of
unconditional regard and seems to play a crucial role in interpersonal and cross-cultural
relations, we assume that when empathy is present, self-expression tends to flow.
Rosenberg (2005), a communication expert and trainer, defines empathy as the respectful
understanding of what others are experiencing (p.104). He goes on to say that when
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empathizing with others we touch their humanness and realize the common qualities we
share (115). Rogers (1961) mentions a major barrier to communication as our natural
tendencies to judge, evaluate, or approve or disapprove statements from others (p.330). It
is expected that unconditional regard and an absence of risk to the person’s self-structure
and self-formation will allow for the emerging of a healthy self-concept, opening
windows for the flow of self-expression and communication among different people.
Diversity is defined as an understanding of cultural differences where race,
spiritual beliefs, ethnicity, age, physical abilities, ideologies, economic-social class, and
spiritual practices sometimes play a role as interface in appreciating each other. We
believe that barriers to unconditional regard and empathic presence in the here and now
are mostly cultural differences, preconceived ideas, and internalized beliefs. Marbley
(2011) did qualitative research using “an amalgam of cultural stories” from the
experience, impression, and voices of counselors as clients and as mental health
professionals. The majority of them were beleaguered with dissonance between their
counseling and their cultural backgrounds. They shared how they “felt disempowered,
devaluated, and invalidated as persons of color in and out of counseling” (p.189).
However, they managed to rise from negative experiences and help to meet the needs of
people of color and everyone as well; as one of the participants mentioned, “what is
needed in the mental health field is to love, to appreciate others and to humble ourselves”
(p.189).
Conference attendees of all cultural backgrounds and orientations come to explore
their historical personal knowledge of self-structure and self-identity. Dancing together,
they link personal self-identity discoveries with concepts from diversity such as ethnicity,
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age, physical disabilities, language, gender, sexual orientation, socio-economical status,
race, ideology, religious beliefs, and culture, among others. Transpersonal psychology, as
an approach that integrates the emotional-psychic and spiritual-consciousness
dimensions, is embedded in the movement method used for the experience. For
Corthright (1997), transpersonal psychotherapy is the exploration of this spiritual
consciousness (p.54).
This transpersonal movement expression approach weaves different modalities of
the arts, such as dance, drama, visual art, sculpture, ritual, and music, allowing one art to
influence another as in the creative connection of Natalie Rogers. The body, as a
receptacle of emotions and memories, is the vehicle to initiate the session where
movement is always the starting point of the process. Inner and outer rhythms are
explored in the beginning of the session as part of a ritual, as a way to create a re-
connection with our true nature. Thus, movement, art, sounding, and music will help us
tap our inner core or essence, to enter our wellspring of creative vitality (Rogers, 1993,
p.45). In this way, we are crafting a safe container where participants can explore a non-
verbal style of communicating with each other, allowing them to open themselves to
diverse ways of knowing or to explore each other’s consciousness.
Personal voices, processes, and movement pattern preferences will be discussed
and examined. The goal of this workshop is to learn how the use of Rogerian-oriented
transpersonal movement expression can help to promote a climate of safety, respect,
inclusion, and value while encouraging the freedom to explore differences and
acknowledge similarities within an empathic, trusting, supportive, and nurturing
environment. Results could be the beginning of the creation of space where participants
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bridge into their true self, understand each other, feel a sense of belonging, celebrate, and
embrace the rich dimension of the diversity of their uniqueness as a group. These remind
us of a memorable part of a seminal poem by Rustin (1983):
“The bridge I must be
Is the bridge to my own power
I must translate
My own fears
Mediate
My own weaknesses
I must be the bridge to nowhere
But my true self
And then
I will be useful.” (In Moraga & Anzaldua, p. xxii).
In this work, we create bridges between our inner-outer realities while at the same
time we related with each other in a respectful and trusting way. In conclusion, we may
say that the freedom and unconditional acceptance provided by the Rogerian approach is
used by clients to explore who they really are. In this tapping into their real consciousness
or true self, people may access a space of feeling comfortable enough to share and evolve
within the group in this supportive and positive environment.
Carl Rogers may have set the foundations for the development of the actual
Positive Psychology discipline. Positive Psychology authors, Fredrickson & Kurtz
(2011), highlight the importance of acceptance, being open to the environment, letting go
of expectations, and creating high quality connections with others as elements that
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facilitate the growth of positivity in life (in Donalson et. al., p.44). We need this
optimistic attitude in our existences. We immigrants, people of color, people that are
different, and people with multiple identities among others, we are terribly in need of
acceptance, unconditional love, and compassion. This is happening in our ever more
diverse, pluralistic society and country, at times shaken under the pressure of unsolved
belligerent personal-family, social-community, and worldly conflicts. Most of the time,
these conflicts are just communication misunderstandings and misinterpretations due to
the polarization into two separated realities and consciousnesses that results from “us”
and “them” thinking.
It is our hope that participants in this session will find their voice and the proper
language to produce and share personal narrative/arts pieces in the hearing and sharing of
stories that mirror their group/collective and individual presence in this diverse world.
Lugoners (1990) beautifully put it while explaining why she uses bilingual (Spanish-
English) writing: “I want to point to the possibility of becoming playful in the use of
different voices and…appreciate this playfulness…The more fully this playfulness is
appreciated, the less broken I am to you”(in Anzaldua, p.46). This is about finding a
voice and a way to use it.
With this experience, we desire for members of the group to achieve the task of
building sufficiently strong bridges of trust with their true-beings, to explore not only
their self-formation and self-identity, but also to develop a voice to articulate their
experiences with others. Here we are re-creating an ambience where different opinions
can be voiced and listened to, an ambience where diverse people could learn from each
other’s ways of knowing or from each other’s consciousness. Bert Hellinger (2001) says,
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while talking about honoring our mother, that we can quietly always use the following
affirmation: “I bow down to you with respect”(p.155). I have found that this can be used
with everyone, since respect is the door that opens to expression, safeness, and ultimately
to trust.
References
Lugones, M. (1990). Hablando Cara a Cara/Speaking Face to Face: An Exploration of
Ethnocentric Racism. In Anzaldua, G. (Ed.). Making Face, Making
Soul. Haciendo Caras: Creative and Critical Perspectives by Feminists
of Color. (pp.46-54). San Francisco: Aunt Lute Books.
Chaiklin, S. (2009). We Dance from the Moment Our Feet Touch the Earth. In Chaiklin,
S. & Wengrower, H. (Eds.). The Art and Science of
Dance/Movement Therapy. (pp.3-11). New York: Routledge.
Cortright, B. (1997). Psychotherapy and Spirit: Theory and Practice in Transpersonal
Psychotherapy. Albany: State University of New York Press.
Fredrickson, B. L., Kurtz, L. E. (2011). Cultivating Positive Emotions to Enhance Human
Flourishing. In Donalson, S. I., Csikszentmihalyi, M., Nakamura, J. (Eds.).
Applied Positive Psychology: Improving Everyday Life, Health,
Schools, Work, and Society. (pp.35- 47). New York: Routledge.
Halprin, D. (2005). Living Artfully: Movement as an Integrative Process. In Levine, S. K.
& Levine, E. G. (Eds.). Foundations of Expressive Arts Therapy:
Theoretical and Clinical Perspectives. (pp.133-149). Philadelphia:
Jessica Kingsley Publishers.
Halprin, D. (2003). The Expressive Body in Life, Art and Therapy: Working with
Movement, Metaphor and Meaning. Philadelphia: Jessica Kingsley
Publishers.
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Hellinger, Bert. (2001). Love’s Own Truths: Bonding and Balancing in Close
Relationships. Phoenix, Arizona: Zeig, Tucker & Theisen, Inc.
Marbley, A. F. (2011). Multicultural Counseling: Perspectives from Counselors as
Clients of Color. New York: Routledge.
McNiff, S. (1981). The Arts and Psychotherapy. Illinois: Charles C. Thomas.
McRae, M. B. & Short, E. L. (2011) Racial and Cultural Dynamics in Group and
Organizational Life: Crossing Boundaries. Los Angeles: Sage.
Rushin, D. K. (1983). The Bridge Poem. In Moraga, C., & Anzaldua, G. (Eds.). The
Bridge Called my Back: Writings by Radical Women of Color. (pp.
xxi- xxii). New York: Kitchen Table: Women of Color Press.
Rogers, C. R. (1961). On Becoming a Person. Boston: Houghton Mifflin Company.
Rogers, N. (1993). The Creative Connection: Expressive Arts as Healing. Palo Alto,
California: Science & Behavior Books, Inc.
Rosenberg, M. (2005). Non-Violent Communication: A Language of Life. Encinitas,
California: Puddle Dancer Press.
Thomas, A. J.& Schwarzbaum, S. E. (2011). Culture & Identity: Life Stories for
Counselors and Therapists. Los Angeles: Sage