From the author: Published: The scope of art therapy: possibilities and prospects: Collection of scientific articles / For scientific ed. A.P. Chuprikova, O.A. Breusenka-Kuznetsova, O.L. Voznesenskaya. – K., 2005. – pp. 33-44. And also see: ART-THERAPY TECHNOLOGIES IN THE FORMATION OF MATURE MALE AND FEMALE PHENOMENA “SELF” IN THE SPACE OF AN INNER FAIRY TALE Elena Voznesenskaya, Ph.D. psychol. Sciences, senior researcher at the Institute of Social and Political Psychology of the Academy of Pedagogical Sciences of Ukraine, President of the NGO "Art Therapy Association" (Kiev) At the stage of transition to new forms of social interaction during the period of transformation processes in modern society, issues of revaluation of social values ​​and hierarchy of social roles. The current situation is characterized by a mixture of the role positions of women and men. The destruction of the old system of social relations and the revision of outdated patterns of behavior lead to the fact that a woman develops masculine qualities in herself, performing male roles. An imbalance between male and female in parents of both sexes leads to the development of intrapersonal disharmony in the child and the formation of unconstructive patterns of behavior in him, including gender. In traditional societies, gender-role identification of boys and girls occurred through certain rituals (initiations of “growing up”), which were carried out when children enter puberty. Such rituals disappeared during the development of a technocratic society. The lack of initiation of the parents’ generation inhibits the initiation of their children and grandchildren. That is why the topic “Male and female in the structure of personality” is so relevant today and attracts the attention of practicing psychologists, and leads to the development of serious scientific theories in various social sciences: psychology, sociology, theology (T B. Vasilets, 2004; T. Marez, 2001; A. Watts, 1999; T. D. Evstigneeva, E. A. Tikhonova, etc. indifferent to the problems of relationships between modern men and women. The purpose of this article is to present art therapeutic technologies for working with internal male and female personality structures. Based on the theoretical and practical results of Rostov psychologists (T.B. Vasilets, N.V. Romanova, 2002), a program was developed art therapy work “A Man and His Woman. A Woman and Her Man." The program presents art-therapeutic and analytical work aimed at psychocorrection of relationships between partners, the formation of mature personalities, harmonization of relations between internal male and female structures. The substantive theoretical basis of the work is Jungian analytical psychology and Jungian analysts’ research into archetypal images represented in the culture of each people (Kalshed D., 2001; Franz M.-L., 1998; Johnson R.A., 1996; Estes K.P., 2001; Propp V., 1986; Vasilets T., Romanova N., 2002 ; Vasilets T., 2004; Breusenko-Kuznetsov A., 1998,2002, 2003). In the program, with the help of art therapeutic technologies, there is an appeal to the resources of the collective unconscious contained in the archetypes of Slavic folk tales, epics and tales that describe the stages of development of the human personality, the path to achieving male and female maturity. As part of the program, participants have the opportunity, in a created safe art therapeutic space, to undergo symbolic initiations into the maturity of the male and female aspects of the personality. Thus, the program is a combination of using the possibilities of initiation psychotherapy (Vasilets T., 2004) and art therapeutic technologies. The symbolic language of fine art, as established, most adequate for expressing the contents of the personal and collective unconscious (C.-G. Jung, 1998). Therefore, the main method of work is art therapy, which is associated with the disclosure of a person’s creative abilities and essential potential, mobilization of internal mechanisms of self-regulation and healing. As a means of freeself-expression and self-knowledge, artistic creativity helps to identify and evaluate one’s feelings, memories, images of the future, and find a way to communicate with oneself (Kopytin A.I., 1999). Relying on the transcendental properties of symbols and their own creative potential, the participant is able to achieve self-healing. The created symbolic images contain ways of resolving intrapsychic conflicts. As a result of art therapeutic work, additional opportunities for intrapersonal communication are created, group members move to deeper levels of interaction with the manifestation of internal (including unconscious) mechanisms for organizing behavior, maturation and integration of masculine and feminine occurs aspects of personality; liberation from behavioral patterns introduced by the dominant culture and ideology and the mastery of those roles that are more consistent with their deep nature, needs and directions of development. The group form of art work promotes the spontaneous manifestation of creativity in the intra-group process and increases the value of cooperation. Creativity in a group leads to the expression of the most complex contents of mental life associated with mythology, poetry, dreams (A.I. Kopytin, 2002). Involving group members in aesthetic and fantasy activity allows everyone to achieve mental integrity through interaction. At the same time, visual creativity is always a way of solitude and reflection for participants in art therapy groups. This allows us to realize our ability for self-development and self-harmonization. In the course of work, due to the activation of the imagination of group members through directed visualization, a spontaneous (in some cases initiated by the leader) transition to dramatic reality occurs, the myth-making of the group develops and a group mytho-poetic model of the world is formed. Art therapeutic technologies are used for the purpose of personal development such forms of art work as open studio and thematically oriented groups (Practikum..., 2000). Thus, a thematically oriented group was chosen as the form of implementation of the program aimed at overcoming intrapersonal conflicts between male and female “I” phenomena, the work in which focuses on solving specific problems. The thematic approach, associated with the use of a specific set of topics, promotes a conscious attitude of group members to mental material. According to K. Case and T. Dalley (Case C. And Dalley T., 1992), themes make it possible to structure the chaotic experiences of group members and direct their energy in a certain direction. Participants in thematic groups need to have sufficient “I” strength and a developed ability to verbalize their experiences (McNeilly G., 1987). In the early stages of group development, a more directive approach to work is expected from the art therapist, who organizes and sets the direction for the participants’ activities, using soft structuring of the group members’ activities and various forms of psychotherapeutic intervention. The group works as a closed group at later stages of its development, which allows for greater frankness of the participants due to their feeling of security in the group space. At this stage, the art therapist reduces the directive nature of his influence, which helps to overcome the dependence of group members on the leader. We believe, following G. McNeilly, that the leader should strive to form among group members an active, equal position with him, his function is to maintain group dynamics (McNeilly G., 1987). The work uses the creative process and the results of visual activities as a tool of dynamic communication. Co-creation of participants makes it possible to use the possibilities of group processes as the basis for internal changes. Thus, the author’s work seems to us methodologically close to the interactive model of group art therapy. A systematic approach involves considering the group for morein the later stages of therapy as a single organism, a self-developing system that is constantly in contact with the surrounding world and in the process of change. The facilitator’s emphasis is on the client’s experiences “here and now” according to the experimental approach in psychology, the exchange of personal experiences of group members as the experience of group interaction, feedback from the facilitator and other participants suggests the basis for changes in behavior patterns. In the beginning Each lesson, in turn, offers an exchange of personal experiences of group participants, self-analysis of their experiences, events, feelings that arose after the previous lesson, which contributes to the development of reflection. The tasks of an art therapist do not include analysis and interpretation of individual artistic images created by group participants. It is possible for the facilitator to participate in working on some of the topics proposed to the group. This promotes participation in the formation of the culture and mytho-poetic picture of the world of the group and, thus, creates an effective environment for changes at later stages of the group’s development. It should be noted that when working with archetypal themes in the form of the phenomenon of an internal fairy tale, it is preferable to avoid interventions, following the logic of the fairy tale and trusting the client's unconscious. The role of the therapist is similar to his work in the associative method of symbol drama and comes down to a supportive presence (Leiner H., 1996). The client’s independent creativity is of fundamental importance. Helping the client in orientation in the space of a fairy tale is necessary only at the beginning of work; further intervention can interfere. By plunging into the space of fairy-tale archetypes, the client gains access to the resources of the collective unconscious, the content of the internal fairy tale is often dramatized, therefore images that are intense in their content, as a rule, end harmoniously, bring the client satisfaction and noticeable positive results, which are reflected in the reality of his life. In this article, we aim to present art therapeutic technologies for working with fairy-tale images, which are an integral part of mature male and female structures, a reflection of personal maturity. The work with the images of the Queen and the Tsar-Father is considered. The theme “Queen” The Queen is primarily associated with mature femininity. Work in groups showed (4 groups in which more than 30 people participated) that the image of the Queen is described by the following characteristics: the functions of the Queen include the ability to manage, care for others, material well-being, high social status, the Queen has a developed sense of ownership. of great dignity, she embodies the creative principle. K.-G. Jung believed that there is a queen in every woman. According to T.B. Vasilets (2004), if a woman’s internal archetypal image of the Queen is developed, we can talk about the existence of a built-in protective male field in the structure of this woman’s personality - a developed and mature Animus. In fairy tales, the Queen, due to her high status, has an army and personal security. The maturity of the animus, its protective role allows a woman to experience a sense of self-esteem, which leads to a corresponding attitude towards her from those around her, primarily men, who strive to protect and demonstrate noble qualities. In one of its meanings, the queen archetype symbolizes different levels of social female success - high social status, recognition of others and a sense of female dignity as a feeling of one’s feminine strength and its power in the social world. Unconsciously preparing for the initiation of female maturity demonstrated by the Queen, modern girls at the oedipal stage of their development draw princesses. According to C. G. Jung, the queen archetype is an important component of female nature. At the symbolic level, it is represented by the image of a stately and noble woman, richly dressed, worthily carrying her scepter and orb. But power and wealth are not the only, but only private properties of the queen archetype. Its eternal components are the creative feminine power and life-affirming nature. Queen's imagealso has one more meaning: the Queen’s wishes come true easily and naturally, without effort or tension, she knows well what she wants and how to get it. In our opinion, it is the archetypal image of the Queen that is least developed in the personality structure of modern women. This is sad, but not surprising, since a woman today, forced to perform the functions of breadwinner, breadwinner, and protector in the family, is trying to retain the role of homemaker. It is difficult to feel like a Queen when, after working full time, going to the shops and loaded with bags, a woman goes out “on the 2nd shift” as a housewife. “If a woman lacks the energies of the royal archetype, she limits herself in many ways, cannot afford much, is not fully aware of her deepest desires and goals, does not allow necessary benefits into her life, from everyday comfort to personal happiness" (Vasilets T., 2004). The negative pole of the queen archetype allows us to draw parallels with the witch archetype and hypermaternal structures in the personality of a woman or in the area of ​​a man’s Anima. This is the pole of suppressive control, suffocating power. The queen can be cruel, overthrow the king she dislikes, and keep him chained in the palace dungeon (historically, this type of power was reflected in the reign of Catherine II). In modern life, this manifests itself in manipulation towards the husband, the husband is “under the thumb”, does not have the opportunity to show individuality, take responsibility, which leads to various addictions (drug, alcohol), psychosomatic symptoms, like a weak man The king, and the woman - the despotic Queen. So, the archetypal image of the Queen includes the symbolism of mature femininity and intuitive perception - knowledge of the highest meanings of life. In addition, maturity is characterized by the need to give, create, build, nurture, and be the cause of events in one’s destiny, the destiny of one’s family and the world as a whole, i.e. create. In fairy tales, this stage in the lives of heroes begins when they, having overcome trials, having gone through the path of initiation, reach a royal position - concluding a marital union, the fairy-tale bride and groom at the same time become the Tsar and Queen or King and Queen (Vasilets T., 2004) .In the program “A Man and His Woman. A Woman and Her Man" in work with the image of the Queen, there is an appeal to the joint creativity of the group members: the creation of a crown (with the participation and interactions of the presenter). Materials used: cardboard, gold and silver foil, paints, pencils, crayons, glitter, feathers, beads , rhinestones, etc. (materials that can be used to decorate the crown). After discussing the image of the royal person and understanding its functions and qualities, the group participants receive the task of creating a crown. 60-90 minutes are allotted to complete the task. The next stage of work is the “Coronation” exercise (idea by T. Vasilets). Each of the group members is asked to come up to each one in turn and say the phrase: “I am worthy.” Participants say in response: “Yes, you are worthy.” The last of those participating take the crown, place it on the head of the person being crowned and lead him to the throne, on which he is invited to sit. The participant remains on the throne for as long as he needs. The rest, playing the role of courtiers, congratulate him with applause and express their respect. After which the next member of the group is crowned. Photography is possible at the coronation, which provides rich resources for using the resulting photographs in further work as a therapy tool (phototherapy). They are a powerful resource when participants experience crisis periods of personal development. An important point in creating a crown and coronation is the group’s ability to develop a unified decision, which indicates both the maturity of the group and the maturity of the male and female components of the personality of each participant, both men and women. The crown is a symbol of uniqueness, exclusivity of power in each specificmoment of time. Only one member of the group can be the King (Queen), the rest recognize this as his right and dignity. Work with the image of the Queen is carried out at the advanced stages of art therapeutic work, the leader’s activity is aimed at reducing the dependence of the participants and increasing the cohesion of the group, he plays the role of a catalyst for these group processes. The session ends with the exchange of experiences of the group participants: What was it like to be a Queen (King or King )? How did you feel? What did you like? What did you want to do? How did you feel in the place of the courtiers? The next stage of working with the image of the Queen will be the exercise “Creating a map of the kingdom.” This stage can be carried out as a separate session or, by agreement with the group members, work with the image of the Queen lasts one session for 5 hours. It combines the method of directed visualization with the subsequent creation of artistic images. It is possible for the seminar participants to relax by lying or sitting in comfortable positions, after which they are invited to silently imagine themselves as the Queen: “Imagine that you are a queen... What do you look like?... How are you dressed?... Where do you live and how?... What are your possessions?... What are your Is your kingdom?... Where are the borders?... What are your relationships with your neighbors?... What internal policy will you pursue? , paints, pencils, crayons. Assignment: draw a map of your kingdom. After artistic creativity, an exchange of experience in the group follows. Continuation of work with the map of the kingdom is possible in the variant of analyzing the symbolism of the map (for example, during individual work or at the request of the group): the borders of the kingdom, their permeability, relationships with neighbors, occurring processes within the kingdom as an analogue of a person’s intrapsychic processes, which are reflected in his life outside the group; it is possible to consider the existence in the kingdom of water sources, rivers, seas and their symbolism from the point of view of vitality, connection to the resources of the unconscious; interesting for analysis are the size of the kingdom, the presence of a developed socio-economic system, army, location of mountains, forests, etc. on the map. Further work with the map of the kingdom allows you to use the inexhaustible possibilities of the “fantasy” genre with its plot moves and drawing up a map of the space in which the actions take place as a characteristic feature of this genre. The theme “Tsar-father” The archetype of the King or Tsar in our understanding is a symbol of maturity male part of the ego, he embodies the qualities of a mature man. The content of this archetypal image is material and spiritual wealth, the focus of the nobility and dignity of the family and clan, absolute power in the form of responsibility for the fate of the wife and family as a whole, as well as responsibility for the prosperity of the earth (female symbol) and its people (symbol of offspring) . If a man is able to perform the functions of a protector, breadwinner, scout, commander, teacher and healer in the family, then he is already a king, since only a mature (royal) ego can solve all these problems. One of the male functions in the family is the ability to be a leader, to be in charge, to lead. This is a high level of responsibility when the decisions made are fateful for the family. The expression “head of the family,” which was devalued in the Soviet cultural space and in the feminist approach, has a deep spiritual meaning. If a woman makes significant decisions for the family, the divine essence of male responsibility is denied: to lead, to be a commander. But a man’s maturity comes with the integration into a single whole of his functions as a husband - the head of the family, i.e. commander, and father, awareness of his paternal role, when he is not only a partner and leader in a married couple, but when he becomes a father. Becoming a biological father, a man is not yet a father in the spiritual sense of this phenomenon, but is only embarking on the path of developing fatherhood.A man can become a real father to his children only when he begins to feel paternal responsibility for his wife (Voznesenskaya E.L.; 2004-1,2). This kind of high level of responsibility excludes the dissolution of marriage in crisis moments of the relationship, since the responsibility of the father tends to be eternal. Loyalty as a foundation is built into the system of mature relationships. By becoming a Father, a man acquires a deep need and ability to be a father not only in relation to his children, but also in relation to a woman and to the world as a whole. Only then does a man achieve true maturity (T.B. Vasilets, 2004; V.N. Druzhinin, 2000). That is why the pinnacle of male maturity is the archetypal image of the King-Father. The King-Father is the ruling archetypal authority. His paternal responsibility extends to his children, his wife and the clan that he heads as a whole, to the people and the whole world. In addition, the king is the governor of Bogan on earth. A man, born with the instinct of procreation, comes, in the process of his personal development, to internal fatherhood - the highest point of male maturity. Domestic studies of family psychology note that under socialism men did not have the natural experience of fatherhood, women rushed into a professional career, which resulted in destruction the formation of emotional ties between the child, mother and father. According to V.N. Druzhinin (2000), the functions of an ideal father are to protect and transmit historical memory and to be the first example of a ruler. Thus, the Father appears to be the bearer of ancestral consciousness. He is the connecting link of generations, he is assigned by culture the role of educator of ancestral consciousness, the development of which contributes to a person’s awareness of his place in the world, the formation of a healthy identity, integrity and strength of the Self. Having ancestral consciousness, children naturally feel their significance through belonging to their clan, responsibility for the fate of their land, the well-being of their family and nation. The deficit of energies in the area of ​​the archetypal image of the King-Father in psychotherapeutic work is reflected in the decrepitude of the King, his illness, death. Work with the archetypal image of the King-Father within the framework of our program is carried out using the motif “Captain of a Shipwrecked Ship”. This exercise also combines guided visualization with the subsequent creation of artistic images. It is possible for the seminar participants to relax while lying or sitting in comfortable positions, after which they are asked to silently imagine themselves as the Captain of the ship: “Imagine that you are the captain of the ship... What do you look like?... How are you dressed?... What kind of ship do you have?... Who is the captain? team?... Now imagine that your ship is wrecked! He is sucked into a huge funnel... The crew is in a panic!... What will you, as the captain of the ship, do to bring the crew to their senses and save the ship?... Take action!...” The image of the shipwrecked captain was not chosen by chance. According to Eva Maria Nietzsche, who developed motives for directed visualization according to the major arcana of the Tarot, this image corresponds to the Emperor card. The captain of a ship at sea is the King and God of his crew. He is the main one, the leader, in addition, he is responsible for both the ship and the entire crew. He is the only one free to make decisions and is obeyed unconditionally, since at sea the well-being of the voyage depends on this, and in crisis situations, the life of each member of the team. Thus, the image of the Captain will be a reflection of the maturity of male personality structures. It was also not by chance that the situation was chosen as a crisis. It is in crisis situations that every person turns to the resources of the unconscious. In addition, water, the water funnel, is the embodiment of the basic archetype of the feminine essence - the Great and Absorbing Mother. A captain coping with a crisis situation, winning and not succumbing to fear or the temptation to be absorbed, according to E. Neumann, is at the maturity stage of ego development (E. Neumann, 1998). Thus, the work provides widediagnostic capabilities, material for self-analysis and analysis in a group in the form of visual products created on the basis of the image. Participants have the opportunity to test their strength, gain positive experience in overcoming the “fear of being swallowed up by the Great Mother”, taking on responsibility of a higher order - for the team or - in a broad sense - for the family, clan, nation. Causes certain difficulties in analyzing the results of working with individual archetypal images of the program. However, the results of participation in the program show that participants get the opportunity to explore ways to solve problems in relationships with the opposite sex. Thanks to this, the following occurs: • resolution of interpersonal conflicts and harmonization of relationships in the family (especially when a married couple participates in the program) due to the processes of group dynamics, inverse connections, the formation of the group’s own culture; • obtaining a new, harmonious emotional experience in relationships with representatives of the opposite sex, which, being born as new patterns of behavior in interpersonal interaction in a group within the framework of the creative process, is transferred to the real life of the participants; • strengthening female charm and attractiveness and male self-awareness - activity, initiative, self-confidence and responsibility;• development and awareness of mature male and female aspects of personality, development of reflection;• correction of psychosomatic symptoms (in particular, gynecological) and awareness of their causes.• appearance of signs of ancestral consciousness in participants (feeling of responsibility for fate kind and nation).Art therapeutic techniques confirm their adequacy in working with the personal and collective unconscious, manifested in archetypal fairy-tale images. 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