Transformative Learning

The creative project offered me a chance to enter the academic realm with a topic which sparks joy and enthusiasm in my heart (comic books) but also allowed me to explore some themes which interest me on an intellectual level – myths, and how myth is involved in shaping the landscape of belief, on a personal and cultural level. Through my interest in comic books the role of the hero is especially interesting for me, because it is in the struggles, adventures, victories and realisations of the hero that the morals and rules of a society are transmitted. After all, the hero is held up to society as a paragon of virtue and morality, the hero is the standard against which all others are measured. Furthermore, the idea that superheroes and their stories could be interpreted in the secular sense as new mythologies for our modern era was an exciting discovery, as I had never given much thought to the deeper meanings within the comics and heroes I love so much.

I had originally intended to write a series of poems on the larger landscape of Buchan in the North East of Scotland, incorporating an alchemical theme. However, returning to this small spot on the shore of my birthplace seemed like a call, I felt strongly that the house wanted to make itself known to me again, as well as the immediate environment. In this sense, I could see this small ‘spot of time’ of my own as a symbol for potential re/birth or transformation in the poems, via communion with my immediate surroundings, as a microcosm of that larger macrocosm. And the closer I examined my surroundings, the smaller the microcosms became, these were world within worlds. This sense of ‘home,’ notions of Eden, or Paradise, were visceral. Gaston Bachelard has said that the first house we inhabit ‘is our first universe, a real cosmos in every sense of the word.’ [Bachelard 1994, p.4] The traces of my ancestors were certainly everywhere, from the enormous blooming fuchsia I believe my grandmother may have planted in its infancy (I knew this was her favourite flower) to the flakes of green paint on an ageing shed door. Moving around the exterior of the house became a kind of circumambulation, a circling of a sacred object. Bachelard states ‘that over and beyond our memories, the house we were born in is physically inscribed in us. It is a group of organic habits.  … The feel of the tiniest latch has remained in our hands’. [ibid, pp.14-15] And I did feel that there was something deeply intimate taking place for me here, as if I was being greeted by a very personal, primal force. James Hillman, referring to Plotinus’ statement that we elect the body, parents, place and circumstances that suit our soul, reminds us that Plato said that in preserving this myth ‘we may better preserve ourselves and prosper’, that the myth has a redemptive psychological function which leads to a practical move, ‘then, the myth implies we must attend very carefully to childhood to catch early glimpses of the daimon in action, to grasp its intentions and not block its way.’ [Hillman 1996, p.8] This was, then, for me, my daimon in action. I did not want to block its way. The image of the house and the desk would become a container for creative reverie, the topology of land and the sea the elements to be explored in it. The shore at Phingask would provide the ‘prima materia’ which was to be, symbolically, transformed into the poems.

The Jupiter project was set up to experientially investigate the symbolism of the astrological Jupiter by connecting myself in different ways to this planet. To this end a range of creative, imaginal, symbolical and cognitive activities was carried out. In my essay the background, set up and main results of the project are described. The results are theoretically reviewed, and the dynamic between Jupiter and Saturn is discussed in the light of Jung’s concept of enantiodromia. The nature of the connection to Jupiter is discussed, particularly the role of transpersonal consciousness in experiencing the symbolism coming to life. Spangler’s ideas on personal and pure (soul) will are used to explain the different ways in which the connection is established. It is concluded that pure will opens up the possibility of a vivid connection to the symbolism. Personal will seems to work in the opposite direction: it closes the gateway to this experience.

This presentation, called Messages in Bottles – Drifting Treasure, was made to an open group of Cosmology M.A. students and tutors during a research day, 13 December 2015, in Canterbury Priory. Lasting half an hour, it took the form of a spoken and illustrated personal narrative. It re-created aspects of a meditative walk taken along the Thames foreshore – a literal path, looking out for messages in bottles, but also a metaphorical and mythopoetic path, asking the self and the cosmos questions along the way, and acting upon the answers received.

My creative project title arose from an exploration of two approaches to dance movement. Approach one explores dance movement in a meditative state of presence, which I called Being. Approach two explores the intention ‘pretending to Be’ through dance movement. The terms ‘Be’, ‘Being’ and ‘pretending to Be’ in relation to approaches one and two I will using throughout this essay. The primary intention for my project is approach one, to explore dance movement that arises from a state of presence and meditation, Being. I created approach two, so I had a counter opposing reference to approach one for greater clarity, for instance, one cannot comprehend black if they do not know white. I am using the terms ‘Being’ and ‘pretending to be’ instead of authentic and inauthentic, as authentic would suggest I am trying to be authentic, when I am only trying to Be.

Resolution of inner conflict was at the heart of my decision to create a virtual place as the creative output of the Creative Project . This project would, I hoped, reconcile seemingly divergent ontological aspects of myself and in doing so potentially create something of interest to others. After months of consideration, I settled that creating a digital application (‘app’) might be both a cathartic and symbolic merging respectively of my professional experience and my personal passion. In seeking this reconciliation, I was unexpectedly accompanied by my daemon. The product of this companionship was to be ‘The Book of Daemon’, a digitised book whose primary aim was to inspire potential readers to possibly establish, renew or develop a conscious engagement with their personal daemon. In undertaking this initiatory endeavour, which is in process still, I had hoped the exercise would engender a deeper knowing of myself by learning new skills and subjects. What I would not anticipate was the extent to which undertaking praxis ‘and entering into unknowing’, would bring me to the edge of sense and in doing so instigate a complete re-visioning and shift of my very being.

This creative project was inspired by a trip to Lindisfarne, also known as Holy Island in Northumberland . It was here that Eadfrith created the Lindisfarne Gospels, ‘one of the world’s greatest masterpieces of manuscript painting’, around 698 CE (Backhouse, 2014 p.7). The Gospels were created in honour of St. Columba who having died in 687 CE, was formally declared a Saint when it was found his body had not decayed on its exhumation in 698 CE. After a walk around the Lindisfarne Priory ruins (which date from 1093 on the site of the earlier monastery), the project to ‘do some Celtic artwork’ was hatched in a café on the island and I went home clutching a copy of ‘The Celtic Design Book’ (Meehan 2007).

During the first term of this MA during a seminar discussion, we explored the allegory of Plato’s cave (Platos Republic VII, 514a to 517), and I felt myself being drawn to the idea of the cave being a womb like place in which gestation can occur; a place of darkness where, having lost a sense of self or meaning of life, we can either relinquish our journey or discover within us, a spark of awakening that can initiate a return or a rebirth. It reminded me of the myth of the descent of the Sumerian goddess Inanna to the underworld and that night, I dreamed of being in a cave deeply asleep as if in hibernation. I heard something calling me, yet could not identify the sound; it felt more like an intuitive ‘hearing’ and yet seemed to come from within me. It was urging me to rouse myself. On awakening I amusingly thought I had dreamed of the opposite of the opening lines to Inanna’s myth; “From the Great Above she opened her ear to the Great Below” (Wolkstein, Kramer and Williams-Forte, 2004, p.52).

I had, in my dream, opened my ear from the ‘Great Below’ to the ‘Great Above’ and the idea to explore her myth as a creative performance began.

Can we access the archetypal ideas via the practice of painting. Does “being in the world” have an effect on the soul of the artist, by retreating into a world of interiority but remaining wholly present can we access the soul?Can we create a dialogue with the imagination which is reflected in the strokes the artist puts upon the page? How does active imagination equate to this. Can we see through our projections? Can we see the “gods” in the landscape and if so, how does the painter interpret this? Is this Alchemy?

I already possessed some artwork, a painting which I produced several years ago on a short course in Visionary Art. I was interested in exploring the metaphorical significance of the images which had emerged. The painting was full of meaningful symbols in terms of my personal life at that time, and had been a helpful companion since then. Now I was in a position to revisit the picture with fresh eyes, and found that this was giving rise to even more possibilities and questions. I realised that, as well as looking at how an image emerges, I also needed to consider how the onlooker “reads” an image as symbol, and how meaning may arise from a completed piece of work when it is “out there” in the world.

The creative project has been an extremely valuable part of the MA course for me. Within the confines of academic demands it is often difficult to move out of the head, indeed this has been one of the very unique challenges of the programme. The degree has offered a number of wonderful opportunities to tackle this issue by actively encouraging a more heart centred and intuitive approach to the content that we are facing here as students. To become more “…consciously aware of our intuitive process…” (Anderson, 2004, p.70) is a refreshing challenge to the more traditional approaches of academic research and engagement. But to be able to open the heart and engage our intuition in a manner that retains a level of conscious awareness and an ability to ‘see’ this process critically, is the real nature of the challenge we face as students. This represents new ground.

The idea for this project was rooted in Marie Angelo’s imaginal inquiry. According to Angelo, imaginal inquiry means trying to look at “the image as a living presence, entering its mythos and cosmos (narrative time and ordered space) and learning of it through participating in it” (2005, p.13). She argues that “if we allow the image to teach, to educate the eye, then we are gradually led to its heart, from the general to the particular, rom the outside inwards” One of the main objectives of my creative project was to create a piece of visual art that could have the transformative function that Angelo talks about. For me this meant conjuring a project that in some way codified a symbolic message that I wanted to convey to the world. In other words, an image with which one can engage and create a living bond, and not only look at.