Sand therapy is a Jungian approach. Brief description of Jungian ideas related to sand therapy

The Sandplay sand therapy training program is designed for psychologists, educators, social workers interested in working with sand and wishing to find their own method of work or expand existing ones.

The purpose of the course is to master the basic theoretical knowledge in the field of Jungian sand therapy Sandplay, familiarize with the organization and process of sand therapy, gain personal experience with the sandbox.
Sand therapy is an unusual but effective technique for working with children and adults.

Sand therapy is a means of relieving internal tension, an opportunity to know your inner world, and regulate ways of communicating with the world by expressing them through symbols. Working with sand allows you to express things that are difficult to explain in words.

In sand therapy, a beneficial effect on the psyche is denied both by the process of creating a sand picture in a free and protected space, and by the picture itself, as a result of this process.

At first glance, the sand therapy technique seems easy and frivolous - after all, Sandplay is a “sand play”. However, it is based on the client's serious and deep work, based on the ability of the psyche to heal itself, restore its integrity and the basic human need for personal development and growth.

Sand therapy makes it possible to see with the eyes the inner content of the psyche and allows you to touch the deep, genuine I, to collect your unique image, picture of the world, which undoubtedly increases self-confidence and opens up new paths of development.

The history of the creation and development of sand therapy. Features of Jungian sand therapy and other modifications of the method. Features of work with children and adults.
Organization of the working space: office, materials and equipment for sand therapy.
The theoretical basis of the method. Consciousness and unconsciousness, archetypes, symbols, personality development in the Jungian paradigm.
Features of the psychotherapeutic process. Acquaintance of the client with the office, rules for using the sandbox, instructions for the client. The role of the psychologist, transference and countertransference, specifics of the setting, keeping records.
Sand paintings analysis scheme. Sand paintings topography, sandbox archetypes.
The stages that the client goes through in sand therapy. E. Neumann's theory of development of consciousness.
Opposites (polarities) in Jungian psychological theory in life and in sand therapy, the transcendental function of the psyche.
Working with the Shadow in sand therapy, Shadow projection, Shadow integration resources.
The symbolic language of the sandbox, myths, fairy tales and dreams.
Personal experience: individual and group work. Sand painting construction, sand painting interpretation workshop.
Dates of classes: September 24-25 1 block (basic) - recording is in progress! [email protected]
October 22-23, block 2 (working with the Shadow)
November 19-20, 3 block (working with symbols)

The total duration of the program is 48 hours, the duration of each block: 2 days from 10.00 to 18.00 (16 hours, of which practical lessons are 4 hours). Upon completion, a certificate of completion is issued.
Cost: 8.000 rubles for 2 days, the cost of 3 blocks is 21.000 rubles.

You can join the program from any block, but it is advisable to first complete the basic course.

Tale of the Sands
(parable of Adris Shah)

The river, starting from a source in the distant mountains, passing by the most varied views and landscapes of the countryside, finally reached the desert sands. Just as she overcame all obstacles, the river tried to overcome this one. But she soon became convinced that when moving into the depths of the sands, there was less and less water in it.

And although there was no doubt that her path lay through the desert, the situation seemed completely hopeless. But suddenly a mysterious voice emanating from the desert itself whispered:

The wind crosses the desert, so can the stream!

The river immediately objected that it only rushes about in the sands and is only absorbed, and the wind can fly, and that is why it costs nothing to cross the desert.

You cannot cross the desert in the usual, tried and tested ways. You will either disappear or become a swamp. You must let the wind carry you to your destination.

But how can this happen?

Only if you let the wind consume you ...

This proposal was unacceptable for the river. After all, in the end, no one has ever absorbed it. And she was not going to lose her individuality. After losing her once, how can she bring her back?

The wind, the sand continued, is what it does. He picks up the water, carries it over the desert and then lets it fall again. Falling as rain, the water becomes a river again.

But how can I check this?

This is so, and if you do not believe, you cannot become anything but a musty puddle, and even this will take many years. But a puddle, you must admit, is far from the same as a river.

But how can I remain the same river that I am today?

In neither case will you be able to remain the same, - answered the sand. “Your main body will carry over and become a river again. And even your current form of existence you only take for yourself because you do not know which part of you is the main and essential.

These words evoked some vague response in the thoughts of the river. She vaguely recalled the state when she, or some part of her, was already in the arms of the wind. She also remembered - and did she? - that this, although not always obvious, but quite a task is feasible.

And the river soared into the friendly embrace of the wind, which easily and gently picked it up and sped away into the distance. Having reached the mountain top, he carefully lowered the river down. And because she had doubts, she was able to remember and imprint in her mind the details of this experience more thoroughly.

Yes, now I have recognized the true essence, the river mused.

The river recognized, and the sands whispered:

We know, because this is happening day after day before our very eyes, because there are sands from us, and all the way from the banks of the river to the mountain itself consists.

That's why they say
that the path that the stream of life must follow is written in the sand.

Psychosomatic disorders in children are a fairly common reason for seeking medical and psychological, psychotherapeutic help. (Zakharov A.I., Andropov Yu.F., Shevchenko Yu.S., Nikolaeva V.V., Arina G.A.). These conditions are common in childhood and this is largely due to the fact that a child, when faced with a variety of external factors, namely, stress, changes in living conditions, frustrating situations, and especially when faced with internal factors, namely, intrapsychic conflicts associated with with difficulties in emotional and personal development, often uses the body through somatization as a way to relieve emotional stress. (Arina G.A., Nikolaeva V.V., Shur M., Alexander F., Vinnikot D.V., etc.) Therefore, in various conditions from bronchial asthma and diabetes mellitus to motor tics and headaches, it is possible to detect and analyze psychological reasons for their occurrence and course.

Accordingly, the method of psychotherapy, which will allow to work out and mitigate psychosomatic states, must directly deal with emotional processes, allow various parts of the psyche, personality, especially the unconscious, to manifest outside. Jungian sandy therapy [i] , along with play therapy, just is such an approach, which in non-verbal form with the help of playing with sand and rearranging miniature figures, as well as through the construction of sand paintings, it allows one to penetrate into the deep layers of the psyche, into unconscious emotions. The method makes it possible to determine, to see in the building itself, in the manifested artistic form, the emotional state of the child himself, the nature of the relationship between consciousness and the unconscious, between the Ego and the Self. Working with sand, like spontaneous play, allows you to find forces within the psyche that move it towards healing and integration, and resolving the conflict behind the psychosomatic symptom.

Such brightness and imagery of the method, which includes the child's independent and not imposed play with sand, is complemented by accompanying questions and comments of a special kind from the therapist. The technical simplicity of sandplay should not be misleading, because the depth and power of the method is very great and special training and your own therapeutic experience are needed so that the integrating symbols and energies of the psyche expressed in the picture could be used by you as a therapist for healing, to support the transformation of the soul from your client, child or adult. A psychologist, working in the sandplay technique, must be able to create such a safe space in which the child can manifest himself consciously and unconsciously, and everything that he creates, does or verbalizes in the therapy room during the session would benefit him , would participate in solving his problems.

Popular methods of work of a psychologist with psychosomatic conditions are body-oriented therapy, art therapy, gestalt approach, etc. Each of them works out certain aspects of somatization in its own way. Art therapy allows images that accompany somatization to be expressed outside, for example, on paper. Body therapy allows the tactile tongue to unfold and regularly release the frozen and fixed energy of the psyche through the release of the body. The Gestalt therapist directs the client to release from emotions here and now, leads the client to harmonization of his one-time state, tunes the person to listen to his processes.

Jungian Sand Therapy combines all of these aspects in a technically different way. It also includes the expression of spontaneous images, the release of the body and tactile contact, the harmonization of feelings and sensation, the living of every moment of building a composition and a game, while all this is realized on the basis of unconscious symbolism, holistic psycho-bodily symbolism of the psyche. Strengthening the Ego-Self axis (integral psyche), normalizing its functioning in the process of undergoing sand therapy, gives the child the opportunity to develop, find a balance between instinctive, spontaneous and controlling, guiding forces of the soul (E. Neumann).

To illustrate, several sand compositions and play structures of children with psychosomatic symptoms undergoing analytical psychotherapy will be considered.

We can see how in each symbolic composition (on the carpet or in the sandbox) the problem of the child, the intrapsychic conflict, appears. They also reflect the stage of transformation of the psyche in which the child is. By analyzing the structures one can discover integrating forces, factors of healing, which make it possible to understand where the therapeutic process with this child is going.

That is, at least three layers of analysis of the child's symbolic material are distinguished:

Intrapsychic problem, conflict, lack of emotional development
The stage of transformation, the beginnings of conflict resolution or defect transformation
Healing factors that describe the prognosis of therapeutic work and emotional-personal development (teleological, prospective component).

Boy, 9 years old, chronic motor tics. I was in therapy for two years, after six months of work, motor tics disappeared as a symptom, analytical work continued with the emotional-personal sphere, with the ego structure and the processes of self-identification and self-identity.

Building and playing on the carpet. "House of the frogs". The boy built a house on the carpet, arranged rooms inside the house, allocated a dining room, a bath, a bedroom. Small frogs live in this house, and outside the house there are two large female frogs holding swords. Large frogs guard the house. Building and decorating a home is a characteristic motive at a certain stage in the therapy of a given client, when tics as a bodily symptom have already receded.

What does this composition tell us? We see at least three important symbols here. It is a home in itself, little frogs as children and big frogs as female protectors.

How is the boy's problem expressed in this picture?

Building a house in a game means the desire to find your inner home, how to strengthen and equip your inner space, an inner container for emotions, sensations, desires and thoughts. This house is very feminine, very maternal, which can speak of the boy's key problem - the problem of identity. As if this child cannot answer our question whether he is more likely a boy or a girl, since he is probably now unconsciously identified with his mother, as a child who has not yet resolved the Oedipus conflict. The female identity is still rooted in him and we can say that there are certain difficulties in the passage of the oedipal stage, and his male identity is in the shadows, it is not sufficiently manifested. If we talk about the etiology of his condition, then of course, this feature is associated with difficulties in relationships with the mother, primarily associated with a very strong symbiosis, fusion between them. This is why the child identifies with the mother figure.

Another problem of this client is the difficulty in managing and experiencing aggression, aggressive drives are unnecessarily blocked and experienced as destructive. Indeed, motor tics are often accompanied by suppressed aggression, aggressive energies cannot sublimate and strengthen the ego, but somatize into a bodily symptom. Symbolically, the difficulties of integrating aggression are expressed in the fact that it is the female figure that is endowed with aggressive elements and the composition does not include characters from whom protection is needed. We can also say that in the composition we see the theme of non-manifestation of the Shadow. Frogs protect, but we don't see enemies attacking. Those. shadow projections on someone have not been sufficiently realized. Joyce McDougall, a classic of psychosomatic research in French psychoanalysis, points out that economy on projections is a characteristic feature of the psyche with a psychosomatic structure; in this case, archaic unconscious shadow contents cannot express themselves with the help of projections and therefore are expressed in a bodily way (McDougall J.). And this prevents differentiation, the development of the unconscious, complicates the emotional formation of the personality.

Another important question is, does a child identify with frogs or adult frogs? It is a question of identity, how are these different parts of the psyche, designated by small frogs children and adult frogs protectors, connected? The splitting into such pairs of figures largely reflects the fear of growing up, the difficulties of growing up, an unconscious fear of the future storms of adolescence.

Let's look at this composition in terms of the stages of transformation. What kind of transformational mental processes does this composition speak of? The child built this composition after the somatic symptom faded away, but his mental structure is still not strong enough to ensure that these tics will not return. Therefore, the boy still needs psychotherapeutic work, to study different aspects internal space.

Frogs as heroes (heroines) are a rather strange choice, the frog is not a hero winner, it is not a knight, not a pirate, not a boy. We can only recall the fairy tale about the frog princess, where this frog is one of the main characters, and we can also recall the German fairy tale by the Brothers Grimm "the frog king, or Iron Heinrich", where the frog is an enchanted prince who must be bewitched by a girl princess ... We can also remember the modern cartoon "The Princess and the Frog". This is a strange image for identification and it is non-anthropomorphic (not humanoid). The frog is a lower animal, not a mammal, but an amphibian, i.e. able to live both on land and in the aquatic environment. One can imagine that a boy must identify himself with a lion, rhino, dragon, but it is difficult to imagine how to identify himself with a frog. But why does this image appear?

In this case, a frog is such a part of the child's psyche that is capable of being in the environment of consciousness and in the environment of the unconscious (both on earth and in water), and thus reflects the already achieved certain degree of psyche integration, the lower alchemical transformation passed through. This integration allows the child's psyche to use the energy of both consciousness and the unconscious and exchange it.

It is also important to point out that the frog is also a primitive projection of the boy's body image, the unconscious body image. In alchemy, we find engravings where a frog or a toad are involved in the transformation of lower matter into gold. This is a transitional stage, at which some unconscious and bodily integration has already taken place, so the symptom is gone, but the child's self has not yet been sufficiently attached.

Home improvement - speaks about the process, the stage of mastering the inner space, when the child recognizes himself, how he is arranged, what happens to him at different moments and this is the process of such a study of his place, his inner space. This stage precedes the opportunity to re-enter the oedipal conflict and work through it, to rethink the relationship between the sexes, to develop one's self-identity, sexual identity.

It can be said in this way that this composition is characteristic of the phallic stage of psychosexual development, it reflects to us the inner phallic Mother of the child, preparation for the transition to the oedipal stage.

Where do we see healing factors in composition? It contains a movement to master aggression, figures appear who wield and control swords, to develop inner space, develop the ability to take care of oneself (strengthening the container and the inner mother, this is how big frogs take care of little ones) and here the vector of integration of primitive emotions and sensations, not somatization through the body. This gives and will give the child the opportunity to better understand what he is experiencing, what feelings, what he can do with these emotions, how he can call them, express, and most importantly, comprehend, that is. use emotions as signals about what is happening to him, what is happening in his inner world.

We see in this way that the use of toys and play in itself, allows the child to create such integrating symbols, to develop them. Spontaneous play shows what stage the child is in and it talks about what interpretations the therapist can make in order to help the child develop and overcome his problems.

Case 2. Girl, 7 years old, behavior disorder, aggression outside, overeating as a psychosomatic symptom. "City of Mud".

Oral psychosomatic symptom - craving for food, insatiable hunger, desire to eat. Overeating itself is often associated with the fact that food is unconsciously equated with a good internal object, food is the equivalent of love. As if a girl can absorb a good object through food, but has difficulty in doing so not literally, symbolically, emotionally.

The mud city is the space where black women live. They are black, because they are all covered with mud, their houses are in the city and there is a source of mud in the center, where they regularly go and bathe. The source is located in the crater of an extinct volcano. The symbolism of the mud allows us to say that this sandy composition certainly reflects the symbols of the anal stage of psychosexual development. We see a volcano in the middle of the sandplay, a source of mud, and women come there. And the dirt is perceived positively here. You can be dirty, you can enjoy the mud. The triumph of anal pleasure, which is probably forbidden in the family and the inner world of the girl, is taboo, impossible. The client has few opportunities for positive fantasies that she is bad, living with it. As if the picture reflects such a bad girl's self that she enjoys. But this pleasure cannot be manifested and integrated with other parts of life, because in the composition the entire sandbox is occupied by the city of mud, other space is not represented there.

Bathing in the spring symbolically represents renewal, pleasure, regression and relaxation, dissolution (solutio as an alchemical operation). This image also reflects the ability to enjoy the body, hints at hidden masturbation and fantasy. This all speaks of a great desire to get pleasure from the body, of the need for this pleasure for the psyche. Overeating food also hints at forbidden pleasures. The girl's hard super-ego prevents the integration of her physicality and primitive sexuality, and this client is also stuck before the oedipal stage, did not resolve the oedipal conflict, did not get out of it. Therefore, she regresses to some of the compromised oral and anal pleasures available (obsession with food, aggressive behavior). The same things are confirmed by the absence of male images in the composition, all the figures are women. As if the male world is not understandable, dangerous, unimaginable. Also, none of the heroines in this building is the main, leading, i.e. it is unclear with which figure the girl can identify herself, many female figures are a support for identification.

The healing factor in this example lies in the area of \u200b\u200bnormalizing asociality (misbehavior, forbidden pleasures). In this asociality, there are opportunities to express and integrate aggression towards the mother, the desire to claim the father and thereby develop their female identity without fear of losing support in the relationship between parents.

Case 3. Boy 6 years old, atopic dermatitis on the hands. A very poor composition, a crater in the lower left corner of the sandbox and an elongated egg-shaped blue stone that is hidden there is buried in it. The boy does not comment on the composition in any way. The rock in the crater evokes such associations as a child inside a mother's womb and reflects the boy's expressed desire to become small again, to return to his mother in the stomach. The child expresses this desire spontaneously after building in the sand. This sandbox reflects the boy's desire for great regression, for merging with his mother, where the mother is a mother-womb, mother-breast. This is a very primitive archaic oral image. Being in the mother's belly, never parting with her and talking to everyone from the belly - this is how the boy voices his fantasies and, as we see, he previously expressed them in the images of the sandbox.

Such a desire tells us about a symbiotic aspiration and that during the first year of life, for some reason, the child was deprived of the emotional maternal space, perhaps because the mother was in postpartum depression or was fascinated by some other people, gave her emotional energy them, and not her son, thereby consolidated this unsatisfied, during that period of life, normal striving for regression and merging (Elyachev K., Stern D., Vinnikot D.V., Dolto F.)

Allergic dermatitis figuratively tells us that it is as if the outside world causes an allergy, any possibility of separation from the mother. The regressive desire to merge denies any separation from the mother, and then the probability of losing the mother would be zero. As if the boy can't take (hands) from outside world, he doesn't want to get rid of his mother. (Marty P., Dolto F.)

For such a client, the ability to have his own space, inside therapy, the sandbox space is vital, because in his regressive striving he is ready to abandon himself. On the one hand, this is omnipotence - I will be inside the mother and I will be like a mother, and on the other hand, it is a rejection of myself. Psychological work with such a child should be associated with strengthening his space, with the opportunity for him to fantasize, to express himself in drawing, play, sand, to create such products of the unconscious that would show him that he exists as a subject, would give him the opportunity to acquire it is a sense of subjectivity.

The psychosomatic symptomatology speaks of the boy's pronounced emotional weakness, as if the boy refuses to develop, since development is the death of merging with the mother, equated to the loss of the mother.

All these examples show us that psychological work should in its depth be based on work with the unconscious, on the possibility of allowing unconscious conflicts and fantasies to manifest and be understood by the psychotherapist and on the possibility of containing them. different ways, through play, holistic symbols, through verbal integration, with the help of transference-countertransference processes and, of course, through understanding them in the therapist's head in the form of interpretations. It is this kind of work that makes it possible to understand what is behind the bodily symptoms in certain patients, to create a strategy for working through the child's difficulties and transforming his psyche, and to formulate suitable recommendations for parents. The compositions clearly show what is happening in the child's inner world, where his development should move and how we, as therapists, can create suitable conditions for them for their development to be realized, work through their unconscious fantasies and confront them, as in the latter case, to show that these fantasies do not correspond to reality. Compositions teach us to interpret the psychic contents behind the symptom, cause it, and indicate what is needed to strengthen the ego structure. In the process of psychotherapy, the child acquires such an Ego, which gives him protection from somatization in the event of stress, conflicts, frustration or transition from one age stage to another. Sandplay and play therapy give us rich opportunities to work with, as does the analytical interpretation of play and sand paintings.

List of references:

Ammon G. Psychosomatic therapy. S-P .: Speech, 2000
Alexander F. Psychosomatic medicine. M .: Eksmo-Press, 2002
Andropov Yu.F., Shevchenko Yu.S. Psychosomatic disorders and pathological habitual actions in children and adolescents. M., 2000
Arina G.A. Psychosomatic symptom as a cultural phenomenon. // Human corporeality: interdisciplinary research. M., 1991
Ballint M., Basic defect. M., 2002
Vinnikot D.V. Small children and their mothers. Moscow 1997
Winnicott D.V. Piggle. M .: Class, 1999
Winnicott D.V. Transitional Objects and Transitional Phenomena: Investigation of the First "Not-Self" Subject. An article from the collection: Anthology of modern psychoanalysis. M .: Institute of RAS, 2000
Winnicott D.V. Object use. An article from the collection: Anthology of modern psychoanalysis. M .: I-t RAS, 2000
Winnicott D.V. Game and reality. M., 2002
D.V. Winnicott and Analytical Psychology. Collection., KDU, 2009
Woodman M. Passion for excellence. M., 2006
Woodman M. Owl was the daughter of a baker. M., 2009
Dolto F. On the side of the child. SPb., 1997
Dolto F. On the side of a teenager. SPb., 1997
Dolto F. Unconscious body image., 2006
Dolto F. Psychoanalysis and Pediatrics., 2006
Isaev D.N. Psychosomatic disorders in children. SPb., 1993
Journal practical psychology and psychoanalysis. Issue 2000 to 2013
Zakharov A.I. Day and night fears in children. SPb, 2000
Kilborn B. Disappearing People: Shame and Mental Pain. M., 2007
Klein M. Psychoanalytic works. Volumes 1,2,5,6
Klein M. Envy and gratitude. Exploration of unconscious sources. SPb., 1997
Klein M. Isaacs S., Ravery D., Heimann P. Development in psychoanalysis. M., 2001
Koloskova M.V. Ontogeny of corporeality and development of communication: on the way to the separation of I - not-I. // Human physicality: interdisciplinary research. M., 1991, p. 70-80
Crystal G. Integration and self-healing. Affect. Injury. Alexithymia. M., 2006
Leiner H.: Psychotherapy of basic disorders using symbol drama. (Translated from English by D.G. Zalessky, I.I.Nagornaya) Collection "From the archive of Khanskarl Leiner", Kiev, 2000
Leiner X .: Catatimic experience of images / Per. with him. Ya.L. Obukhov. M., "Eidos" 1996
Leiner X .: Fundamentals of depth-psychological symbolism, Journal of practical psychologist, 1996, No. 3, 4
McDougall J. Theater of the Soul. Illusion and truth on the psychoanalytic scene. SPb, 2002
McDougall J. Body Theaters. M., 2007
McDougall J. Thousand Faced Eros. SPb., 1999
Martin P., de M "Yuzan M. Operative thinking. An article from the collection: Anthology of modern psychoanalysis. M .: I-t RAS, 2000.
Marty P. Allergic object relations // collection of Psychology and psychopathology of the skin, M., 2011
Mother. Child. Clinician. M., 1994
Nikolaeva V.V. On the psychological nature of alexithymia. // Physicality of a person; interdisciplinary research. M., 1991
Neumann E. "Child", 1970
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Obukhov Ya.L .: The importance of the first year of life for the subsequent development of a child (a review of D. Winnicott's concept), "School of Health", 1997, No. 1
Obukhov Ya.L. Symboldrama. Katatimno-imaginative psychotherapy of children and adolescents. M., 1997
The psychology of physicality. Reader. M., 2005
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Starshenbaum G.V. "Psychosomatics and psychotherapy: healing the soul and body". M., 2005.
Stern D. The interpersonal world of a child. SPb, 2006
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Von Franz ML. Archetypal patterns in fairy tales. M., 2007
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Steinhard L. Jungian sand therapy. SPb., 2001
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Jungian sand therapy provides a therapeutic opportunity for the client to express their inner world, as well as the archetypal world of the soul, by constructing symbolic paintings inside a wooden sand tray and playing with miniature figurines and natural materials, stones, water, sand, etc.

Psychoanalytic play therapy enables the child to create a symbolic game, which is an actual product of the unconscious that needs timely interpretations by an analyst or psychologist.

Self is the archetype of integrity - the fullest human potential and the unity of the individual as a whole. The self is the regulatory center of the psychic.

More in Blum G. Psychoanalytic theories of personality, M., 1996, McDougall J. Thousand-Faced Eros. SPb, 1999

This feature is typical for children with psychosomatic states, as mentioned by various authors (J. McDougall, D.V. Winnicot, etc.), their aggression, especially aggression towards the Mother, remains unintegrated for a long time.

Shadow - hidden or unconscious aspects of the psychological structure of the personality, its negative side, usually rejected by the conscious ego, but affecting the thinking and behavior of a person. The sum of all unpleasant personality traits, something primitive, infantile, not adapted. The task of analytical therapy is not to exclude the Shadow from the patient's life, but to realize its presence by him, to acquire the ability to integrate it into the I and coexist with it.

Original title: The Princess and the Frog, 2009, USA, director: Ron Clements, John Musker

The frog, an animal related to the moon, is associated with rain, symbolizes fertility, fertility, eroticism, also personifies dark and undifferentiated primary matter, the element of wateriness and primordial mucus, the basis of created matter, is a female symbol.

1. From the history of sand therapy

2. Benefits of the sand therapy approach

3. Sand therapy method

4. Sand therapy - principles and structure of classes

6. List of references

“Often hands know how to untangle what
over which the mind beats in vain "
K.G. Jung

Sand is a mysterious material. He has the ability to fascinate a person - his pliability, the ability to take any form: to be dry, light and elusive, or wet, dense and plastic. The sand game captures both adults and children. Children and adults, once on the beach, spontaneously and with pleasure create sand paintings. The pliability of the sand provokes the desire to create a miniature of the real world out of it. A person acts as a creator, not tied to the results of his labor. He creates a castle out of sand, admires it for a while, and then a wave or he himself destroys the creation. One plot of life ends, giving way to the next. And so endlessly. This is the unique Mystery of Being: everything comes and goes, and there is nothing that would be irreparably destroyed - just the old gives way to the new... Repeatedly living this Mystery, a person achieves a state of balance, while in his inner space the proportion of fuss and anxiety is significantly reduced.

Sandplay is one of the most interesting methods that emerged within the framework of analytical psychology in the twentieth century. Today it finds the widest distribution in our country, it is used in work with children and adults.

From the history of the sand therapy method

The beginning of the use of a tray of sand in psychological practice is considered to be the end of the 1920s.

When working with children, toys and miniatures were used by Anna Freud, Eric Erikson and other psychotherapists.

At the beginning of the twentieth century Charlotte Buehler developed The "peace test", which is still used in Sweden as a diagnostic tool in child psychiatry.

The idea of \u200b\u200busing sand in playing with sick and mentally disadvantaged children was realized by Margaret Lowenfeld in the 1930s. M. Lowenfeld called her method - the technique of "building the world". The "world building" technique was taken from the "peace test".

In the 1950s, the Jungian psychoanalyst Dora Kalff, having studied the method of "building the world", began to develop jungian Sand Therapy, which later became an independent direction in psychotherapy. D. Kalff first used sand therapy with children, and then with adults.

D. Kalff based her approach to sand therapy on the theory of C.G. Cabin boy.She found that a series of sand paintings created by children or adults, in fact, represented an ongoing conflict with the unconscious and was comparable to a series of dreams encountered during the analytic process. Working on a tray of sand initiates the mental process of moving towards wholeness, and can lead to healing and personal development. In 1980, Dora M. Calf published the Sandplay monograph.

The author of the Sand Therapy method, Swiss Jungian analyst Dora Kalff, believed that “A painting in the sand can be understood as a three-dimensional depiction of any aspect of the state of mind. An unconscious problem is played out in the sandbox, like a drama, the conflict is transferred from the inner world to the outer one and becomes visible. "

The sand therapy method is based on a combination of non-verbal (the process of building a composition) and verbal expression of clients (a story about a finished composition, composing a story or fairy tale, revealing the meaning of the composition). Sand therapy is used both when working with children and when working with adults.

Benefits of the sand therapy approach

Sand therapy - this is a unique opportunity to explore your inner world with the help of many miniature figures, a tray of sand, a certain amount of water - and a feeling of freedom and safety of self-expression that arises in communication with a psychologist, this is an opportunity to express something for which it is difficult to find words, to come into contact with that, to which it is difficult to address directly, to see in yourself what usually escapes conscious perception.

The possibility of self-expression in sand therapy is not limited to words. Just as one symbol or image can express more than a hundred words, a figure or scene built by you can convey feelings, emotions, conflicts that are not available for verbal expression. This can especially help those who, for some reason, find it difficult to put their experiences into words - for example, those whose experiences are so acute and painful that it is difficult to come into contact with them directly, children who do not yet feel at ease in the world of words.

Sand therapy - a unique way to communicate with the world and yourself; a way of relieving internal tension, embodying it at an unconsciously symbolic level, which increases self-confidence and opens up new ways of development. Sand therapy gives you the opportunity to touch the deep, true Self, restore your mental integrity, collect your unique image, picture of the world.

Sand therapy focused on the inherent potential of each person for health and strength. Her emphasis is on the natural manifestation of thoughts, feelings and moods in creativity, the acceptance of a person as he is, along with his own methods of self-healing and harmonization. It satisfies the need modern man in the most natural, complex methods of treatment and harmonization, in which mind and feelings, body and spirit, male and female qualities, the ability to introspection and active action play an equal role.

Sand therapy method

The application allows the psychologist to solve the following tasks:

· Diagnostic:

· Correctional;

· Therapeutic;

· Creative development.

Indications for sand therapy

· - various forms of behavior disorders,

· - difficulties in relationships with adults (parents, teachers) and peers,

· - psychosomatic diseases,

· - increased anxiety, fears,

· - difficulties associated with changes in the family (divorce, the appearance of a younger child, etc.) and in social situations (adaptation to technical school).

Sand therapy allows:

· express experiences that are difficult to formulate in words;

· opens up internal reserves for resolving difficulties;

· gives you the opportunity to try new ways of building relationships and resolving conflicts .

· Changes in attitudes towards oneself, towards one's past, present and future, towards significant others, in general towards one's own destiny.

· Respond to negative emotional experiences in the process of creative self-expression

Contraindications to the use of sand therapy

Sand therapy cannot be performed in the following cases:

· Epilepsy or schizophrenia.

· Customer with very high level anxiety.

· Allergy to dust and fine particles.

· Pulmonary diseases.

· Skin diseases and cuts on the hands.

Sand therapy equipment:

1. Sand tray. A rectangular wooden tray measuring 49.5 x 5 x 7 cm. These dimensions are extremely important as they allow the client to keep the entire composition in sight, rather than separate fragments... Bottom and interior the sides should be painted blue, symbolizing water and the unconscious, the outside of the tray should be beige, symbolizing sand and consciousness. The sand takes up about one third of the volume of the box, it should be clean, sifted, not large, but not too fine, and preferably sufficiently light. It is important that it is pleasant to the touch.

The work uses both dry and wet sand. To do this, you must have a container of water. The choice with which sand to work is always up to the client.

2. Collection of miniature figures and objects:
a) people of different sex and age, representatives of various historical eras, various professions; doll families
b) fantastic creatures, characters of fairy tales, legends, myths, gods and goddesses different nations, sorcerers, witches, etc .;
c) animals (terrestrial, flying, aquatic), both wild and domestic, as well as extinct and prehistoric representatives of the fauna, fantastic animals (unicorns, griffins);
e)houses, other dwellings, furniture, bridges, stairs, fences, burrows, buildings with a special purpose (railway stations, hospitals, schools, etc., temples of various religions, etc.);
f) household utensils;
g) trees and other plants;
h) vehicles (land, water, air);
i) toy swords, pistols and other weapons
H. Natural natural objects.
Crystals and minerals, bones, fossils, pieces of metal and wood, dried flowers, leaves. dry twigs, seeds, shells, feathers, etc.

The collection should contain miniature symbols that are attractive and unattractive; beautiful and terrible; symbols of good and evil, harmony and absurdity.

The collection should be represented by objects of various sizes, colors, structures and materials. They should be:

Big and tiny;

Colorless and bright colors;

Transparent and opaque;

Made from different materials: metal, glass, clay, wood and plastic.

SAND THERAPY. PRINCIPLES AND STRUCTURE OF THE CLASS

The personality of a foreign specialist practicing sand therapy is protected by belonging to a particular school. He knows exactly what and when to offer the client, what and when to ask, how to respond. The school gives him knowledge of the algorithm, technology.

The situation is different with the Russian specialists using the sandbox. We have only recently begun to develop the concept of belonging to a particular school. "Symbol-dramatists", "psychoanalysts", "Jungians", "gestaltists", "art therapists" appeared. If a specialist has completed a full cycle of training in a particular school, he knows how to use the sandbox as part of his approach. But most of our specialists do not have such training.

And before us, as in a fairy tale, there are three roads, three choices:

Ø or stick to a specific school and build sandboxing into a common set of methods and techniques;

Ø either work the way an authoritative specialist "taught";

Ø or, "joining" the client, follow him, trusting his own personal and professional intuition.

1. Client joining. As already noted, the sand painting contains a wealth of information about the inner world and the current state of a person. To understand the client's request, to feel the rhythm of his sand painting, to see its problematic and resource hypostases, to feel the unique figurative structure of the painting - all this is included in the concept accession.On the basis of affiliation, the specialist “follows the client”, helping him to understand his own resource and vulnerabilities.

2. Sincere interest events and plots, unfolding in the sandbox. Considering the client's picture, the specialist, as it were, combines two hypostases. On the one hand, this is an inquisitive open child who is extremely interested in what is happening in the world that the client has created. On the other hand, he is a sage seeking to find the truth. Sincere interest in the client's inner world, displayed in the sandbox, joining the client - all this allows the specialist to build a positive internal dynamics of the person who asked for help.

3. Strict adherence to professional and human ethics... Of course, the "sand therapist" cannot, in the presence of the client, without asking, remove the figures from the sandbox, rebuild the picture or present some value judgment. The inner world of a person is rather fragile, and only a code of ethics and professionalism of a specialist can protect a client from injury.

Depending on his own understanding of the goals of psychological work, a specialist can focus on either “reacting”, or self-knowledge, or conscious modeling of certain states in the sandbox.

In doing so, I am guided by the following principles sand therapy:

1. Real "living", playing all kinds of situations together with the student - based on this principle sand therapy there is a mutual transition of the Imaginary to the Real and vice versa.

2. Reflecting on the experience and the situation - while acting out the situation in the sandbox, the student has the opportunity to look at it from the outside. This principle sand therapy allows correlating the game with real life, comprehend what is happening, find ways to solve the problem.

3. The exchange principle is in playing with sand student and psychologist easily exchange ideas, thoughts, feelings. In this way sand therapy allows you to build partnerships.

4. The principle of animating abstract symbols - sand therapy allows you to form a sense of the reality of what is happening.

5. But most importantly: sand therapy - this is playing with sandwhere "RULES DO NOT EXIST!"

Possibilities of "sand therapy"

Sandbox creativity for adolescents and adults represents the interaction of creating a country that is a projection of the inner world.

The landscape in the sandy space symbolizes the customer's card. These can be mountains, plains, rivers, seas and oceans, roads, forests, etc. At the moment of building the world, a person can plunge into a light trance state, focusing on his problem and the way out of the problem situation. The landscape shows which path a person has chosen for himself, how he will go through it.

In sand therapy, when working with a client, you can use fairy tales, legends, myths, parables, which are selected depending on the client's problem. The plot must be clear to the client. In the course of work, parables can be combined into one single metaphor. One metaphor can flow smoothly into another.

Most used in my work with students « sand paintings":" Magic country "," I and the world that surrounds me "," City of Friendship "," My life in ... years "," The World of Good and Evil "," He and She. The history of relationships ”,“ Fairytale city ”,“ Hero's feat ”.

Acting out various plots on the sand, a person gains experience of symbolic solutions to many life situations. This experience in the form of "material" passes into the unconscious and after a while, changes occur in human behavior. In real life, he begins to apply his sand experience.

Thus, sand therapy is, on the one hand, an excellent developmental environment, and on the other, the process of transfer, projection of the inner world. When there is a character on the sand that is being targeted. This is a very high level of aggression.

3) Conflict with loved ones .

At such moments, a confrontation or confrontation of heroes can occur, which at the moment are a reflection of people from the real environment.

The location of the figures in the sand also has a symbolic meaning and can provide a lot of information. When the figure is placed in the center, it usually symbolizes the author of the painting. The second figure that appears is a symbol of some important moment. If the creator of the painting buries the hero, he tries to supplant what is still unconscious in the unconscious.

The peculiarity of filling the sandbox and all its sectors can give a lot of interesting information. If the action unfolds in the upper part, we have a dreamy person. The lower parts of the sandbox are filled with down-to-earth people. Moving to the right or left indicates that this person is owned by the future or the past.

When carrying out the analysis, it is important to take into account the uniqueness of clients, especially their personal perception of the world.

ü Any psychoprophylaxis is carried out in order to prevent problem situations. In the sandbox, you can play any life situations, rethink them and find the right solution.

ü The sandbox is a great tool that allows you to review many life events: psychological trauma, relationship problems, personal growth.

ü Sand therapy, unlike other techniques, allows a person to create own world, which will open the way to the most intimate thoughts, dreams and feelings. This world can be felt, changed, viewed, and even photographed.

ü Sand therapy is able to activate the resources of self-healing and the advancement of a person to psychological health. The created images on the sand are a reflection of the inner world and unconsciousness, allow you to understand yourself.

Who among us in childhood did not play in the sandbox, did not build castles? On the seashore, as if some invisible force draws us to create a bizarre castle. Sea waves roll in, wash away our buildings, and we continue to build again and again.

Sand is an amazing material, pleasant to the touch and so malleable that you can create whole fragments of the world, then more, and so on ad infinitum.

Experiencing the unique mystery of being, a person achieves a state of inner balance, freeing himself from everyday vanity.
We immerse our hands in the sand and amazing sensations overwhelm us. It can crumble through your fingers and can be shaped. Sand is an unknown and known universe, from which you can create your own unique world ...

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Jungian Sand Therapy Technique

The sand therapy technique arose within the framework of the Jungian analytical approach and is largely based on working with the symbolic content of the unconscious as a source of internal growth and development. The author of this method, which emerged in the 50s of the last century, is considered to be the Swiss Jungian analyst Dora Kalf.

It is believed that the origins of "sand therapy" - in the book of the famous science fiction writer H. Wells "Games on the Floor" (1911). In it, he describes how his sons, playing with miniature figurines, found expression and relief from difficulties in relations with family members and with each other. It was this book that inspired child psychiatrist Margaret Lowenfeld, who founded the London Institute of Child Psychology, to put miniature figurines on the shelves of her office. The very first child who saw these figures, carried them to the sandbox, which stood nearby and began to play with them in the sand. This is what laid the foundation for the "peace building technique" - a diagnostic and therapeutic technique, developed and described in detail by Margaret Lowenfeld. Dora Kalf, who was trained by M. Lowenfeld, saw in this technique not only an opportunity to help children express and respond to their oppressive feelings, but also a way to strengthen the connection with the deep unconscious layers of the psyche and help the process of individuation and the development of transcendental function (a mental function that occurs in as a result of the tension between consciousness and the unconscious and the unification that supports them), which she studied with C.G. Cabin boy.

The main principle put by Dora Kapf in the basis of the work is "creating a free and protected space" in which the patient - a child or an adult - can express and explore his world, transforming his experiences and their experiences, often incomprehensible or disturbing, into visible and tangible images ...

“A painting in the sand can be understood as a three-dimensional image of some aspect of the state of mind. An unconscious problem is played out in the sandbox, like a drama, the conflict is transferred from the inner world to the outer and becomes visible ”. (Dora Calf, Sandplay, 1980)

For work, two wooden trays of sand with a size of approximately 60 x 70 x 10 are used (a space that can be easily captured by the eye at a time). One tray is filled with dry sand and the other is used if the client wants to work with wet sand. The inner surface of the trays is colored blue - thus, the bottom of the tray can represent the sea or the river, and also serves as a symbol of the unconscious. You also need a lot of different figures, from which the client chooses what attracts or, conversely, scares or repels him.

The following items are commonly used in sand therapy:

people - various figures of people - children, adults, representatives of different professions, fairy tale characters (sorcerers, witches), gods and goddesses of different nations, angels, etc .;
animals - fish (shark, dolphin, goldfish) and other aquatic mammals (seals, walruses, whales), amphibians, reptiles, rodents, domestic animals and predators, birds, insects (ants, flies, beetles, spiders, grasshoppers, butterflies ) - i.e. various representatives of the animal world;
plants - trees, shrubs, flowers. Artificial and natural plants can be used;

® objects of heavenly space - the sun, moon, stars, rainbow, clouds, lightning;

habitat objects - fences, gates, road signs, bridges;
accessories - pieces of fabric, threads, buttons, chains, small nails, coins.
natural objects - pebbles, bones, pieces of metal and wood, shells, seeds, acorns, chestnuts, feathers, dry plants, crystals, polished glass.

Filling in parts of the sandbox and its sectors will tell a lot of interesting things about the person. For example, if there is a noticeable shift in the action in the sandbox to the top, we are faced with a person prone to daydreaming. If he does not have balancing figures below, you need to work out the aspect of implementing the plan, making plans. Down-to-earth people fill the lower sectors of the sandbox. In this case, the development of fantasy in the sand therapy class will be a balancing moment. Offset to the left or right side will show the person who owns either the past or the future. Also, the analysis of "sand pictures" is based on the scheme of dividing the tray: past - present - future (from left to right) and conscious - unconscious (top to bottom); the selected figures are also analyzed based on their symbolic meaning, how they are located, rotated, including in relation to each other, what is next to them, etc.

The use of miniature figurines in sand therapy, combining them into a certain plot suggests performances of the inner theater of the personality. Figures can symbolize subpersonalities (a kind of "mini I", which has a certain set of characteristics - fears, needs, beliefs, etc.) of the author of the sand painting. Observing the relationship between the characters of the sand picture, a person can establish the currently actualized subpersonalities and enter into a dialogue with them. In this case, the main emphasis is on building a dialogue with the figures. It turns out that in the process of sand therapy, the client builds a new relationship with himself. However, the figures used in the sandbox can not only reflect the subpersonalities of a person, but also symbolize real people and the phenomena of the environment in which the client is included. In a sandy environment, real life situations can be dramatized, regarding which a person experiences certain difficulties. In this case, sand therapy is a miniature of psychodrama. The advantage of the psychodramatic approach here is that no group assistance is required to create the performances - all the roles are played by toy figures. Thus, the sandbox creates conditions for the performance not only in a group mode, but also in an individual one.

a Ritual items.

Miniature clock, scales, pendulum.

and Caskets, boxes.

And Miniature Musical Instruments.

a Multi-colored glass and crystal balls and much more.

3. Technical devices

Camera, a set of photographic films.

Sand therapy process

The duration of one session of sand therapy with adolescents and adults is on average 50-60 minutes. The duration of one consultation depends on the client's age and the characteristics of his intellectual development.

The frequency of consultations depends on the severity of the problem. Recommended 1-2 times a week.

A full course of sand therapy can be 12-15 sessions.

At the first consultation, if a positive decision is made to use sand therapy, it is necessary to acquaint the client with how its process is organized.

Demonstration of the sandbox.Usually the client is told the following: “Look, our sandbox is half filled with sand, so you can see the blue sides. Why do you think this is needed? Indeed, the sides symbolize the sky. The sandbox has one more secret: if you and I "move the sand", we will find a blue bottom. What do you think, why is this needed? Indeed, the bottom symbolizes water. However, if you feel that the symbolic water is not enough for you, please use a water jug. Dry sand easily turns into wet sand. You can create any landscape - mountainous, hilly or flat. In a word, everything here is subject to the will of your imagination.
Demonstration of a collection of figurines.Usually the client is told the following: “Look - there are many different figures here. You can examine them, hold them in your hands. There are trees, houses, people, and much more. When creating your own world, your painting in the sandbox, you can use different figures. "
Sand painting.Instructions: "Choose by

\u003e Shuysta, all those figures that attract you or repel you, choose as many figures as you want. We have one hour, and you can choose the time for yourself. Anything you (■ mber, you should place on a tray (in the sandbox)). "

Discussion of the sand painting.When discussing with a client the picture and the experiences associated with it, the psychologist does not give information |1 \u003e statements or recommendations. He only "mirrors" the cli-

shu his own experiences. The main questions of the psychologist emphasize for the client the importance of the experience of creating

full-time picture and the place of this experience in the general picture of life | shenta.

The main questions of the psychologist to the client

The main questions of the psychologist to the client may be as follows:

If the tray were a painting, what would the painting be called?
What are your impressions, sensations from the process of creating a sand painting?
What is especially important or useful to you in this picture?
How can the plot or characters in your composition help you in your life?
Perhaps you have made a discovery for yourself or an important observation: if so, would you like to tell about it?

Thus, the psychologist's strategy is to maximize assistance to the client in the process of understanding himself and understanding the laws of his own life.

Key characteristics of sand paintings

Among the key characteristics of sand paintings are:

Energy-informational field of sand painting.
The main idea of \u200b\u200bthe sand painting.
The plot (or plots) of the sand painting.
Conflicting content of the sand picture.
Resource content of the sand picture.
The symbolic field of the sand painting.

Energy information field of sand painting

Most often, the psychologist has an adequate response to energy- J | tick of the picture, that is, some kind of " working condition". His first sign is a sincere interest in the picture, a desire to learn as much as possible about it.

We still know too little about the energy-informational field of the sand picture, but we understand the importance of this key I characteristic. In fact, the energy-informational field of the sand picture is the main repository of knowledge about composition, but it is still difficult for us to formalize this knowledge. Therefore, other key characteristics come to the rescue.

The main idea of \u200b\u200bthe sand painting

The main idea of \u200b\u200bthe sand painting reflects the current life values, needs, the "zone of proximal development" of the author. In other words, the main idea will tell us what is most important for the client at the moment. What he is working on, consciously or unconsciously, what he strives for. You can find out the basic idea of \u200b\u200ba sand painting in at least three ways.

Ask the client to name the world created in the sandbox.
Ask the client to answer one of the questions:

c What is this world?

what is this country?

® What is the most important thing the inhabitants of this country could say to the inhabitants of other countries and worlds?

I What can we learn from the experience of traveling around this country, around this world?

Invite the client to describe the sandy world.

The plot (or plots) of the sand painting

The plot of the sand painting reflects the dynamics of some internal process. Sometimes it happens that there are two or more interconnected plots inside the picture. For example, two

fans, three worlds, two or more main characters. It happens that the plots are devoted to one character, but they describe different and age intervals of his path: childhood, adolescence, maturity.

Conventionally, you can divide the pictures according to the plot dynamics of the pi phi of the form:

dynamic;
static;
mixed.

Dynamic paintings,as a rule, they have a hero (or hero) who goes somewhere, strives, wants something, seeks something. In the picture, we find such heroes on a certain stretch of bondage. We can see their past (the world they came from) and their future (the world where they aspire).

The advantage of dynamic pictures for the psychologist is i and the fact that in fact the client himself already talks about the goals of the consul! Scoring (albeit in encrypted form). He knows what he must come to, what to get, what means to use for this purpose.

Static picture- this is a freeze frame of a certain plot. In a static sand painting, time stands still. The heroes of such paintings, as a rule, lead a sedentary lifestyle. Or we find them and the moment of some action (work, play, meal, bathing, sunbathing, hunting, etc.). But in any case, this is the usual idea of \u200b\u200bactivity for them. To reveal the plot in a static picture, you can give the client the following tasks: “Tell the story of this country. How did it all begin, who created it, how did it happen? What does the future hold for this country? Imagine that the first day of creation in this country is over, night has come, and then a new day. Tell us what happened in this country. "

If no significant events take place in the country, the plot dynamics is manifested only in the change in the types of activities of the heroes, this may mean that a person has found for himself a certain “zone of stability” and does not yet seek to leave it. Apparently, he needs to "live" in this country for some time in order to gain strength for travel and adventure.

In mixed sand paintingsstatic well-being is disturbed by the dynamism of a certain hero.

Mixed paintings can contain two worlds: static and dynamic. But in any case, the mixed picture speaks of internal confrontation, contradiction and the search for stability. This type of paintings also sheds light on the conflicting content of sand compositions [18].

Conflicting content of sand paintings

The conflicting content of sand paintings reflects the inner tension of a person. It can be overt and hidden.

The conflicting content of the sand painting can be described by the following characteristics:

level of aggression;
orientation of aggression;
targeting aggression;
dynamics of working out an internal conflict.

Aggression levelcan be high, medium and low.

The level of aggression is high if battles unfold in the sandbox or if there is a character against whom active aggressive actions are manifested.

If the heroes of the picture are just preparing for war, or in an outwardly calm world there are a number of armed figures who are not involved in active hostilities, we can talk about an average level of aggression. If the sand painting is a peaceful sight, we see a low level of aggression.

Direction of aggressioncan manifest itself as autoaggression and heteroaggression. Autoaggression is seen in destructive actions in relation to the main character of the sand tale, in the troubles that the author exposes him to. Hetero-aggression is expressed through the confrontation of armies in the sandbox, as well as in the active aggressive actions of the protagonist in relation to other characters and elements of the composition.

Targeting aggressionshows the addressee of aggressive actions. The figurine (or figurines) to which the aggressive flow is directed may be associated by the client with a specific person from real life (mother, sister, father, grandmother, husband, wife, child, boss, girlfriend, etc.).

Resource content of sand painting

The resource content of the sand picture serves as a support for ichological consultation and is an integral obscurity characteristic.

Manifestation of resource content:

The presence of a special positive energy in the picture. What-1 about a plot of a painting or composition as a whole warms the soul. If you ask to tell about this in more detail, you can actualize the resource hypostases of the personality.
There is a creative idea in a picture or story about her,

thundering. If the psychologist focuses the client's attention on this, it is possible to actualize his resource potential.

The plot of the sand painting is life-affirming - and on this you can build a line of counseling.
A feeling of release from tension after playing out the conflict. Now that good has triumphed over evil, you can "start a new life."
The flexibility and ingenuity of the hero of the composition in finding ways to overcome difficulties. This can usually be established from the client's story about the painting. If the hero combines direct aggression, cunning, patronage, avoidance, mutual assistance and other ways to overcome difficult situation, you can talk about its adaptive resources. He has a high potential to adapt to different conditions, as well as to successfully handle difficult situations.
A person's potential resource capabilities are manifested in his sand picture as wonderful objects that bring deliverance or a happy solution to the situation. Subsequently, we will be able to contact them to support and strengthen the client's self.
The presence of helper figures.

The symbolic field of sand painting

The symbolic field of the sand picture reflects information about the client's inner world, encrypted in images and symbols. For the researcher, this key characteristic is perhaps the most attractive.

For ease of understanding, we conditionally divide the symbolic field of the sand picture into three parts. The symbolic field will include:

3 Zak. 635

symbolism of the spatial arrangement of objects in the sandbox;
the symbolism of the sand painting landscape;
the symbolism of the objects used in the sand painting.

We will examine each part of the sand painting's symbolic field in sequence. Conditionally dividing it into three parts, we will remember that they exist in unity with each other.

An important condition for conducting symbolic analysis is fixing the client's location relative to the sandbox.

The surface of the sand painting can be conditionally divided into three equal parts vertically and three equal parts horizontally, as in a Rubik's cube. Thus, the "sand sheet" is divided into nine sectors. Each vertical and horizontal line has a certain symbolic meaning. We present it for those who have the right hand as their dominant hand. For lefties, everything will be mirrored.

Split vertically.

The "female" part. Symbolizes the past, relationships with significant women, mother, connection with home.

The left side is what a person already has, what he can rely on.

The left side can also symbolize the inner world of a person; reflect his deep personal processes.

The present. The central part symbolizes the current human processes. What he thinks about, what he strives for, what is significant for him. This is especially true for the figurine, which is placed in the center of the picture. Often it symbolizes the client's I, the image with which he unconsciously associates himself at the moment

The "male" part. Symbolizes the future. Social processes. Relationships in society: kindergarten, school, institute, work. May reflect a relationship with a marriage partner. Also symbolizes plans for the future, anxiety related to the future.

Relationship with significant men, father, brother, husband, friend. Sometimes it symbolizes limitations in the implementation of the plan.

Split horizontally.

The upper part symbolizes mental processes. What a person thinks, fantasizes, what plans, remembers.

The central part symbolizes emotional processes. What a person experiences, what he feels, what he worries about, what he is happy about.

The lower part symbolizes the sphere of real actions, human actions. What he did, what he does, what he wants to do. Earth, soil underfoot. As you can see, the interpretation of the symbolic meaning is multivalued, multilevel. Therefore, the psychologist is looking for a meaning that is most consistent with the client's state and the idea of \u200b\u200bthe picture.

Even a quick glance at spatial arrangement A rock figure in a sandbox can provide important information about a client's specialty. To do this, you need to answer the question: "Which parts of the sandbox are the most filled, and which were empty?" If there is a certain disharmony in filling the sandbox with figures, the psychologist can determine for himself the most common tasks of counseling.

Sand painting figurines.

The figurines in the upper left corner symbolize the processes associated either with past memories, or with thoughts of odome, mother, or another significant woman.

The figures located in the central upper part can reflect what the client is currently thinking about, fantasizing about.

In the upper right corner, as a rule, there are figurines reflecting dreams, plans for the future, thoughts about interaction in society: from kindergarten, school to work. Interaction with the father, other significant men.

Caught in the central left part of the figures can symbolize past emotional experiences associated with the house, mother, significant woman.

The most important figures are concentrated in the central part. On the one hand, they describe the actual emotional state. On the other hand, value aspirations, something significant, it does not matter whether it is conscious or not.

The figures in the right central part reflect the aspirations, desires of the author of the sand painting, as well as emotions about the future, men, social self-realization.