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Minstrels of Soul
Intermobal Expressive Therapy

Paolo J. Knill

Helen Nienhaus Barba

Margo N. Fuchs
Minstrels of Soul
Intermobal Expressive Therapy
 (

Digitized by the Internet Archive

in 2011

http://www.archive.org/details/minstrelsofsouliOOknil
Minstrels of Som(
Intermdbai Expressive Therapy

Paolo J. Knill Ph.D.

Helen Nienhaus Barba ma, N.C.C

Margot N. Fuchs Ph.D.

PALMERSTON PRESS Toronto

 Palmerston Press

© 1995 Knill Barba Fuchs

All rights reserved. The use of any part of this publication

reproduced, transmitted in any form or by any means,

electronic, mechanical photocopying, recording, or otherwise,
or stored in a retrieval system, without the prior consent of the

publisher is an infringement of copyright law.

EGS Press
128 Danforth Avenue, Unit 119
Toronto, Ontario, iNl M4K
CANADA

ISBN 1-895450-20-9

Printed and Bound in Canada

Printed by Ryerson CopyPrint Shop

Palmerston Press

Cover Painting by Margo N. Fuchs, "Lebensbaum," 1 993

CONTENTS

ACKNOWLEDGEMENTS 3

PREFACE 7

FOREWORD 9
by Shaun McNiff

INTRODUCTION 15
Art as a Discipline of Diversity

PART ONE
The Integrated Use of the Arts
in the Healing of Psyche 21

Our Story and Roots 21

Play and Art, Imagination and Soul 23
Polyaesthetics 27
Crystallization Theory 31
Intermodal Theory 37
Integration and Separation 52

PART TWO
Literal, Imaginal and Effective Realities 59

Literal, Imaginal and Effective Realities and the Arts 59

Effective Reality in a Dream Interpretation. 62
Realities of Dream, Imagination & the Artistic Process 65
Minstrels of Soul: Intermodal Expressive Therapy

PART THREE
The Essence of the Arts in Healing 69

Beauty 70
The Aesthetic Response and Aesthetic Responsibility 71
Eros 91
The Axe House:
that Builds a 108
Art as Disciplined Aggression

PART FOUR
Special Considerations in the Practice of
Intermodal Expressive Therapy 123

Relationship as Art 123

Mediated, Unmediated and Transmediated Realms 128
Structure and Framing 136
Play 139
Process versus Processing 140
Working With versus Working Against 144
Communication and Intermodal Techniques 146

PART FIVE
Some Thoughts on Research 1 55

Object Formation 156

Research Methods 160
Qualitative versus Quantitative Research 163

Closing Remarks 165

About the Authors 167

References 168

Index 177

-2
ACKNOWLEDGEMENTS

is with great respect and humility that we take this

It
opportunity to acknowledge the many people who have
contributed to the development of intermodal expressive
therapy. First and foremost, we pay tribute to the
masters and doctoral students at Lesley College Graduate
School, the trainees at the affiliated International Institutes,
and our peer faculty members, who have taught and in-
spired these students of intermodal expressive therapy
under the auspices of the former Institute for the Arts and
Human Development. We have ourselves been repeat-
edly inspired by students' questions and learned from their
investigations, inquiries and thesis research. This work,
which stems from a deep faith and an abiding love of the
arts, would not have been possible without the lasting

commitment and inspirational challenge we all received

from the founder of the Arts Institute and our mentor,
Shaun McNiff.
We express further appreciation to Stephen K. Levine,
for his philosophical guidance; to all our colleagues in the
International Network of Creative Arts Therapy Training
Centers, for their steadfast support; to the pioneers of this

-3
Minstrels of Soul: Intermodal Expressive Therapy

network in Europe: Han§ .Helmut Decker- Voigt in

Germany, Annette Brederode in Holland, Gunda Granicher
in Switzerland, Philip Speiser in Norway and Sweden and
Yaacov Naor in Israel; and to those who inspired this net-
work in Canada and the United States: Jack Weller, Natalie
Rogers and Ellen Levine.
Should the history of expressive therapy one day be
written, an additional tribute is owed to Steve Ross, who
dared to found the first association of expressive thera-
pists, and also to Dick Wylie, former president of Lesley

College Graduate School, who guaranteed the freedom

necessary to develop the field academically, and to the
founders of the new International Expressive Therapy
Association (IEATA), who are carrying the spirit of this
work world arena.
into the
A special word of thanks is due to our publisher,
Palmerston Press, and to our editor, Colleen Perrin, for
offering us the opportunity to make this body of
knowledge available to the public.
Our thanks also to the following journals: The Arts
in Psychotherapy and C.R.E.A.T.E. (Journal of the Creative
and Expressive Arts Therapies Exchange), in which some
of the material in this volume has appeared in slightly dif-
ferent form.
The text which follows emerged as a direct extension
of Paolo Knill's research and practice as first articulated
in his text, Intermodal Learning in Education and Therapy
(published by the author in 1978 in Cambridge, Massa-
chusetts and later translated into the book
Ausdruckstherapie, 1979). This updated version of the
book —with several new sections on realities, beauty,
research, the therapeutic relationship, and an expanded
look at practical considerations —represents a truly collabo-
rative effort in that we all participated in the process
theoretically, artistically and philosophically. Therefore,
 Acknowledgements

we wish finally to acknowledge each other: Paolo, for

his original theories and continuously evolving ideas and
inspirations; Margo, with her contributions of poetic texts
and mindfulness to philosophical questions; and Helen,
who assumed and
responsibility for the overall formulation
editing of the book, while also promoting an ongoing dia-
logue between the three of us, forcing us to clarify our
thoughts and ideas.

-5-
 —

PREFACE

mode is whatever helps me move from one

favorite
My mood or state into another and to pull
insight, —
meaning and momentum from the previous mode into
fuller expression or change in the next.

I chant and sing to concentrate emotion and devotion and

ride the waves of those feelings, into my next act.

I dance when I feel paralyzed by a trapped emotion

wounded and stiff... catatonic. It helps me let go of the
pain, and return to the world of the living again...

I my journal when feel scattered or when I'm

write in I

working out my relationships... It helps me to perceive the

narrative in my life, when I've lost the sense of what story
I am living, and why...

I write poems as a —
form of magic to reshape patterns of
being and look deeper into the mystery...
 —
Minstrels of Soul: Intermodal Expressive Therapy

I cook when too many people, projects or things pull at

me. When I cook, I stop thinking and start assimilating.

It all gets thrown into the pot and boiled until it's soup.
Then I eat it, and feel empowered to deal with everyone
again.

...I paint to externalize, identify and talk with felt states

and subjects of intense contemplation... I paint until an

order, a form emerges that is coherent and catalytic...

I love drumming with people —the surrender to com-

munication through rhythm is invigorating and ecstatic...

I my "art." It transports
live in and defines me. It is a
way for me to focus, contain and see through my desires
to dance with them, so I can touch people without be-
ing overwhelmed...

Art digests me and makes me accessible to the world. I

cannot imagine being digested by only one or two modes

of art. I want to be feasted upon by all of the heavenly
powers — to be a tasty dish at the intermodal feasts of the
gods!

Margaret Schneider, 1993

Lesley College graduate student
on her preferences for artistic disciplines

8-
FOREWORD

Throughout the past decade, I have urged Paolo Knill

to write a book about his practice of expressive
therapy. Since the late 1970s, have watched graduate
I

students purchase bound photocopies of his doctoral dis-

sertation, which until now was the only English text avail-
able on the subject he invented, intermodal expressive
therapy. Paolo's book Ausdruckstherapie (1979) was pub-
lished in his mother tongue, but American, Canadian and
Israeli students had to settle for the Copyquick prototype.

I said, "Paolo, we know the book will sell. There is a

demonstrated need, and a clear desire for the information.
You've got to write a real book in English about this work."
Now we have a text which presents the original theory
and practice of intermodal expressive therapy together with
recent reflections on imagination and play, aesthetics,
research through the arts, and concepts like effective

reality which expand an integrated approach to the arts

in therapy. Paolo's collaboration with Helen Nienhaus
Barba and Margo Fuchs provided the impetus for the com-
pletion of this opus, and the team effort shines through
every one of its polished pages.

-9-
Minstrels of Soul: Intermodal Expressive Therapy

In founding the Institute for the Arts (

and Human
Development in March of 1974 at the Lesley College
Graduate School in Cambridge, Massachusetts, I began
with the idea that we needed a masters training program
in creative arts therapy modeled on the classical tradition
of liberal learning. We
emphasized depth through breadth
and a comprehensive commitment to the full spectrum of
expression. We felt that since our patients and students
were constantly expressing themselves through different
media, it made good sense to train ourselves to meet them
where they were. We instinctively knew that the vitality
of imagination was furthered through the engagement of
all expressive faculties. Since opportunities for this type
of study did not exist at any other school, we felt

ourselves charged with a mission.

In my first months of gathering a faculty, I was intro-
duced to Paolo Knill, then a visiting professor at Tufts
Universitywhere he taught music from the perspective of
Piaget. He was offering a similar course at Lesley, and
when I told him about my ideas for a multidisciplinary
expressive therapy program, he took to them like a duck
to water. His response was validating to me, and through
my twenty-year relationship with Paolo, he continued his
total support for my incurable tendency to carve out new
ways of doing and thinking about things.
In those early days, I felt that the Arts Institute's
philosophy of Gesamtkunstwerk, or total expression, was
an external manifestation of a beloved image that Paolo
carried in his soul, waiting to be realized. His multi-
disciplinary background as a graduate of the Swiss
Institute of Technology, a musician, performance artist,

educational psychologist and manager did not fit the spe-

cialization doctrines of our contemporary professions. His
daimon was committed to many things, viele Dinge, and

- 10-
 Foreword

the classical European ideal of discourse amongst various

perspectives. But his most essential contribution to the
formation of our community and the profession of expres-
sive therapy was an infusion of the magic that
permeates his being. I do not want to appear sentimen-
tal or unspecific, but anyone who has worked with Paolo

knows how he evokes sacred and enchanting qualities

loaded with medicine. This is the core method of expres-
sive therapy practice, something distinctly present yet
outside the scope of explaining. The discipline is a prac-
tice of a sacred presence.
This is which holds us together and clearly
the vision
distinguishes our methods from those who try to graft the
arts onto branches of behavioral science and medical
model therapies. Artists can certainly collaborate with
therapists from even' conceivable discipline, but the
distinct qualities of artistic medicine must be strengthened
rather than diluted.
It is intriguing how many who mix specific art
disciplines with medical model therapies argue that
integration of the arts will water down the individual
components. I think they are doing something that they
call projection, placing their own undesirable or unac-
knowledged traits onto someone else. From history, we
see that the arts have always nourished and deepened one
another. The more the individual disciplines cross-
pollinate, the more vital they become.
Although Helen, Margo, Paolo and I share values of
soulwork, our ways of operating have always been
distinctly different. This individuation of the details of
practice within a mutual ideal is an important point to

emphasize to the therapist in training. The best advice I

can give to any beginning or trained therapist is to
encourage a careful reading of this historic and essential
text, but then transform it with your own interpretations
and contributions. This artistic philosophy of constant tran-

11 -
Minstrels of Soul: Intermodal Expressive Therapy

substantiation is what distinguishes our tradition from

others which institutionalize their experience through a
literal reading and following of a text. I cannot conceive
of anything more fundamental to the efforts of Helen,
Margo and Paolo than a sustained contagion of imagina-
tion from their practice to yours, and then onward from
you to others, and perhaps back to them. It is a spiral
movement of unpredictable influences, and not a linear
progression.
One expressive arts therapist might plan experiences
or rituals, and after the scheme is put into action, the
initiator stands back to let it emerge according to its

inner purpose. Others, or the person I just mentioned

who may want to introduce a different modus operandi,
may feel that the materials, the place and the forces
operating in the individual and group psyches are in them-
selves more than enough inspiration and structure. In one
session, there may be an integrated use of all of the arts

into what Paolo has called "intermodal" practice; in

another, I might paint only to paint, drum to drum, and
dance to dance. I cannot overemphasize this necessary 7

varietyand spontaneous sense of direction characterizing

Minstrels of Soul. The images and expressions move
through us like angels and demons who know their way.
They are the agents of imagination's medicine, which treats
disorders of the soul with soul.
Margo Fuchs and Helen Barba, together with other
leading practitioners such as Steve Levine, have carried
expressive therapy into a new generation of creations.
They have studied Paolo's methods, which have been
and they have
rigorously tested over the past twenty years,
placed their personal spins on the work. They have
helped to solidify the discipline as a major mode of
clinical practice.
As I reflect back on the history of the first generation
of experimentation, I must mention Norma Canner, who

12-
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