Integrating Inner Relationship work with
an arts flavor
Inner Partnership: Using drawing and writing in the
Focusing process
From The Focusing Connection, Vol. XXIII, No 1, January
2006.
by Judy Archer <focusingresources.com/irf/teachers/judy_archer.htm>
When
I talk about using drawing and writing while Focusing, the
first thing people ask me is if I focus with my eyes open
or closed. I usually start with my eyes closed and then
open them to draw or write something. Or sometimes I just
start writing about something and as I write I drop down
inside, close my eyes, acknowledge what has come, and check
out how it feels inside or what shape it is taking. I can
then open my eyes and draw or write--describe the sensation
or quality of what I experience. And so I go back and forth
writing or drawing a line or shape and sensing where it’s
moving to or more about its qualities.
How this works: I may experience something on the left
side of my belly--I draw a line in my visual journal. Then
I go on sensing inside and drawing another line or shading
an area. Each little step starts to show me a larger shape
which I can sense into again inside. As I sit with something
I may gradually resonate with or recognize some meaning
or felt sense. I check in with the inner places until there
is a dropping into something meaningful and something in
me says “Oh yes” and there is some felt experience
or sense.
Sometimes what I experience changes so much I may draw
two or three small drawings. Other times there is only one
drawing. I am led by the inner sensing of where my hand
goes or to what I draw. This is important because often
I don’t have any idea what I’m going to draw.
Sometimes what I draw may be different than what I would
have sensed or expected. So I have learned to trust the
unconscious movement of my hand writing (or even typing
on the computer) to lead me towards the forward movement
my body wants for me.
I divide my visual journal /sketchbook page into twelve
squares, three inches by three inches. I keep each square
small so I am not distracted by the process of drawing.
Other times I may make small drawings within the text in
my regular Focusing Journal which has mostly writing in
it.
My writing practice was developed over thirty years ago
when I was having trouble with my writing. Jim Leonidas,
a Focusing colleague in graduate school, suggested that
I write my dreams. It was obvious I couldn’t edit my
dreams. I simply wrote what came or what I remembered of
what came. This practice of continuing to write my dreams
helped me trust my writing and develop a more fluid writing
process. I learned I could edit later and somehow I came
into a different relationship with my inner critic.
I learned another writing practice from Linda Trichter
Metcalf and Tobin Simon who wrote Writing the Mind Alive:
The Proprioceptive Method for Finding Your Authentic Voice
(Ballentine Books, 2002). I studied with them in the early
nineties in Maine. This practice involves lighting a candle,
listening to slow music, listening and writing one’s
thoughts, feeling them in one’s body and asking the
Proprioceptive Question ‘What do I mean by_____?’
In this method the product of our writing is called a “write.”
We write what we hear inside and we learn to cultivate a
“listening presence.” Until now I had not remembered
how close this is to our Inner Relationship Focusing Process.
Part of the process is to be willing and open to whatever
comes in writing. By being willing to deepen into what is
implied or unspoken I am more in touch with my inner authentic
voice.
This
attitude was also useful when I returned to college to learn
Fine Arts. At age 48 I took studio classes in drawing, painting,
printmaking and sculpture for several years. I soon learned
to accept any idea that came for creating something. Then
I could play with it, modify, adjust or build on whatever
came. The important thing was that I trusted what came and
did not judge it.
What I am underlining is how the drawing and writing inform
the Focusing process. The sense of presence in the Focusing
process as well as in daily life also informs the writing
and the drawing/painting assemblage making processes. I
am sensing these practices are a fertile ground for coming
into presence with other areas of my inner life. These are
only two of the many possible ways in that are suggested
in The Focusing Student’s and Companion’s Manual
(Part One) by Ann Weiser Cornell and Barbara McGavin.
Before I started Focusing again in the past two years,
I was feeling different areas of my life were not as connected
as I would like. As I focus daily, sometimes for only fifteen
or twenty minutes, I am sensing an integrating effect. For
example I was feeling an opposite pull between home and
art work. Through my Focusing each area was informing the
other. I started collecting household items and car parts
that others would have thrown away. I started building assemblages
that were informed by my Focusing.
One
example is a base of a barbecue stand, an ironing board
standing up on end sitting in it, with one of the ironing
board legs bent to make an arm shape holding a tray at shoulder
height as a waiter would. All this came from having some
of these items and collecting others and the play on words
of wait, weight, waiter and waiting. This example is one
of many, underneath which is a rich intricacy of values
and interests that stretch way back in time. These values
include recycling, working ecologically, having a sense
of play and fun in my work, creating a sense of home. As
I continue Focusing and begin learning A Process Model (with
Rob Parker’s phone Group), I am sensing deeper layers
of integrating movement beneath the Focusing.
As
I use drawing and writing within my Focusing as ways to
tap into this inner knowing, I am sensing deeper layers
something difficult to put into words--something liquid,
fuzzy, diffuse, a sense of warmth and changing daily. In
fact I’m noticing the analogy of heat is in most of
my recent assemblages. There are toasters, irons, ironing
boards, car and truck engine parts and barbecue stands.
I am finding a rich evocative intricacy of sensing and understanding
that feels like the heat is turning up. Yes, it feels like
more is cooking, both figuratively and literally in many
ways. I am experiencing the integrating process becoming
richer and deeper.
I am also recognizing how there is an endless intricacy
of values and interests that stretch way back in time. And
I continue to be amazed and surprised by the intricacy of
it all. I am deepening my appreciation for others exploring
this path. There’s a knitting together of values, needs,
skills and interests to create a more authentic life. I
would be interested in hearing from others about something
in this territory that you do that is either similar or
different. (printer
friendly version - 70kb PDF)
Judy Archer is a Certified Inner Relationship Focusing
Trainer. This article is an elaboration of her presentation
at the 2005 International Focusing Conference at Kempenfelt
Bay, Ontario. She is exploring the common threads in teaching
Focusing, writing, family history and art. Judy can be reached
at <judyarcher@rogers.com>
