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.

One particular atrophied ‘not I’ that was calling for my attention was related to making art which I denied myself very early, as it was owned by my mother. She was the artist and she tried to ‘teach’ me to make art. I rejected her tutoring and instead learnt that what I already produced was not good enough, nor was it art, and that she held primacy over what art truly was. This assumption encouraged me to reject this aspect of myself and relegate it to ‘not I’, and so I have always blamed my mother for my fear of this particular type of creativity and the shame that goes with it.

After reading about the Flower of Life for several months from a wide range of authors from the ancient Greeks to the modern new age, I felt ready to draw my own Flower of Life symbol. I wanted to try and put myself in touch with Jung’s collective unconscious through the practice of scared geometry, using it as a metaphor for universal order, where in his book Sacred Geometry Lawlor advises us that “it is the approach to the starting point of the geometric activity which radically separates what we may call the sacred from the mundane or secular geometries” (Lawlor, 1987, p16). In his dialogue ‘The Republic’, Plato said that “God is always doing geometry”, and it is said that above the door to the Academy in Athens which he founded as the first institution of higher education in the Western world, the words were inscribed “let no one ignorant of geometry enter”. It was with some trepidation, and a feeling of pressure to do justice to my attempt, that I sat and started my first Flower of Life symbol.

Learning is my life passion, much of my recreational learning arising from a desire to maintain a creative balance with a career that has been in information technology and latterly lecturing in business management. In 2015 I attended a one-day woodcarving course learning the basics of the craft. Having a lifelong love of trees and wood, the smell of sawdust is evocative of my childhood as the daughter of a carpenter. The idea of carving a finger-labyrinth in the classical 7-circuit style kept re-surfacing in my consciousness. But would this provide sufficient scope for a creative project? Although simple in style, this carving was to present unforeseen challenges.

In astrological parlance I suffer from the affliction of a Saturn/Mercury conjunction. In layman’s terms, joining together Saturn (contraction) and Mercury (communication) may make oneself very uncomfortable in one’s expression. Indeed, I have always been bad at telling stories – be they jokes or life stories – always feeling that I was losing people’s attention half way through, always having difficulties to really embody the story and own it. A cruel lack of confidence in the delivery, especially when the audience exceeds four people. The Creative Project was therefore a perfect opportunity to challenge myself and step out of my comfort zone. Tell a story and learn a little bit about yourself, I thought.

In deciding what to do for my creative project I was torn between doing something purely ‘personal’ and perhaps trying to express myself through a new medium and doing something connected to my professional life as an RE teacher. I chose the latter because I wanted my creative project to have implications wider than just the personal, and I wanted to explore ways in which my work on the MA could influence and transform my life and teaching. One of the areas of RE that I had been feeling increasingly passionate about since starting the MA was the issue of female spirituality and the divine feminine. I increasingly noticed a disconnect between my own understanding of spirituality and the experiences of the women around me, and the ‘religion’ I was teaching in the classroom. I was also inspired by the work of Kripal and McGilchrist in particular in their understanding of education and the learning process, and how in our institutions it has been increasingly dominated by empirical enquiry to the exclusion of the archetypically feminine qualities and processes like intuition, embodiment and creativity. I wanted my project to develop my understanding of female spirituality, as well as integrating it with my professional life. I also felt strongly about the representation of women in the RE classroom and wanted to address this as well.

For the creative project I chose to compose a collection of poems to present to the class and wider program community as a recital and a printed booklet. During the course of the year I have written about two dozen pieces, more or less related to materials ad ideas explored through the MA. I selected eight that were the most direct responses and memorised them for the presentation. In terms of creative praxis, the process can be expressed as comprising two parts: the act of composition and the reflective tropos, bringing the poems from the realm of the subjective to the ‘universal’ audience.

This project was a creative process that crystallized in my endeavour to attempt to momentarily create a soul connection with my fellow students through the theatrical production of a sketch titled “Speaking from the Heart”. I wanted to corroborate the idea of the value of self judgement through the act of heart-felt confession. In order to combine these two practices in an artistic fashion I had to connect the concept of the soul to an instantly recognizable cultural image that served both as a visual and empathic bridge between myself and the group; while at the same time connecting the soul to the cosmos. It was for this reason that I chose the symbol of the heart. For is it not the heart and the expression of its intentions that influence our behaviour towards others? The ‘Upanishads’ write of the supreme Cosmic Spirit, Brahman, “He is the bridge of immortality. Where all the subtle channels of the body meet, like spokes in the centre of a wheel, there he moves in the heart and transforms his one form unto many.”

Following the aims of transformational learning theory and using art as a means of expression I have attempted to do an exercise that showed how I have engaged with the materials presented in the MA course. At the beginning of my studies I was not familiar with most of the themes that are at the core of the MA programme, such as symbolism or divination. During these years of learning I have discovered and rediscovered different areas of knowledge that have impacted me in many ways and that have contributed, and will still be adding, to my growth as a person. Therefore I wanted to create something that reflected what the MA has meant for me. In my essay I will present a review of the process that lead me to create the collage I entitled “Looking out of my window”, attempting to explain its symbolism and the challenges I have faced while doing it.

The poem ‘Shards of Glass’ expresses the fragmented post-modern experience of both the sacred and the mundane, seeing if it is possible to go beyond the mere expression of this experience and find some kind of unity, at least on a personal level. It explores how our personal myths and stories may interact with ‘established’ myth, and how objective reality may function as a gateway to the sacred.

The inspiration for my creative project arose out of an essay on the role of symbolism in the Dionysian rites. I developed a very personal connection to the material, trying to imagine what the rites may have felt like for those who participated – the essay was formal, but as I wrote my head was filled with spontaneous images and lines of poetry. I wrote the poem in four sections to reflect the Four Levels hermeneutic (also the idea of cycles of life and death, and of seasonal flow) but allowed the work to grow organically. With Dionysus as the narrator, I hoped to capture some idea of this deity’s compulsive attraction and beyond that to contemplate what ‘deity’ might signify in the first place. My professional work involves teaching and practising astrology, at the centre of which are the gods of classical antiquity – for some astrologers these represent psychological drives or Jungian archetypes; for others there is a more overtly spiritual or religious connotation. Although Dionysus is not included in the astrological pantheon, the creative project was a way for me to question myself on my own understanding of deity.

This projects weaves together a family tradition of crafting with various elements of the MA that were meaningful to me, to create a tapestry of ’emblems’.

“At the age of 45 my heart literally broke. A boyfriend finished a relationship unexpectedly and a few days later I suffered a heart attack. My understanding as an Arts Psychotherapist is that there is no delineation between mind and body, so it did not surprise me that my heart physically mirrored my actual emotions of grief and abandonment.”

An exploration and development of some of the images and dialogues that have emerged from practicing Active Imagination

This project charts the creation of an embroidered veil. A veil is a liminal item, well placed to convey the ‘in-between places’ that can be discovered but are more difficult to describe. The design was inspired by encounters with Tolkien’s Elves in the enchanted realms that can be perceived in the sacred Pendle landscape. Does the sacred art of sewing help us to bring these realms and the material world closer together? This is a mythopoeic journey where Elves and the Silmarils are interwoven with the Pendle Zodiac.

My creative project explores “the fecundating, magical action of the symbol on the mind” (Pietro Negri, 2001, p 91). In a sense this phrase perfectly encapsulates the aims and effects of the transformative material we have encountered on the MA, as the creative project is noted as ‘the heart of the MA’.