Soul Art - sample by Iona Books1

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S oul Ar t A workshop manual for creativity and wellbeing

Shaeron Caton Rose

www.ionabooks.com

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Copyright © Shaeron Caton Rose Published 2022 by Wild Goose Publications Suite 9, Fairfield, 1048 Govan Road, Glasgow G51 4XS, Scotland the publishing division of the Iona Community. Scottish Charity No. SC003794. Limited Company Reg. No. SC096243. ISBN 978-1-80432-254-3 Cover image © Shaeron Caton Rose The publishers gratefully acknowledge the support of the Drummond Trust, 3 Pitt Terrace, Stirling FK8 2EY in producing this book. All rights reserved. Apart from the circumstances described below relating to non-commercial use, no part of this publication may be reproduced in any form or by any means, including photocopying or any information storage or retrieval system, without written permission from the publisher via PLSclear.com. Non-commercial use: The material in this book may be used non-commercially for group work without written permission from the publisher. Please make full acknowledgement of the source, and where appropriate report usage to the CLA or other copyright organisation. Shaeron Caton Rose has asserted her right in accordance with the Copyright, Designs and Patents Act, 1988, to be identified as the author of this work. Overseas distribution Australia: Willow Connection Pty Ltd, 1/13 Kell Mather Drive, Lennox Head NSW 2478 New Zealand: Pleroma, Higginson Street, Otane 4170, Central Hawkes Bay Printed in the UK by Page Bros (Norwich) Ltd

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Soul art

Ctents Introduction

Practicalities

Session 1

Hands on

Session 2

Now and then

Session 3

The pattern of our lives

Session 4

Seed of your soul

Session 5

Let your light shine

Session 6

Hidden treasure

Session 7

Bobbing along

Session 8

Broken healers

Session 9

Round and round

Session 10

The way ahead

Addendum in a time of pandemic

41 49

79 87 94

Appendix – materials and other resources Notes

101

About the author

103

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Soul art

Introdun This is a practical guide to delivering art and wellbeing sessions to the community within both a faith and a non-faith context. In this introduction I will talk about the benefits and advantages of working with creative processes to enable individuals and groups to grow and flourish as human beings and as part of their communities. Many churches and other religious groups are now closely involved in working to offer social provision and care within their localities. This has become increasingly crucial since austerity cuts, with voluntary organisations taking up the slack created by loss of public funding. Faith organisations, such as churches in their local or parish settings, or mosques and other religious meeting houses within their areas, are well placed to offer such services as they are both geographically local and rooted in their surrounding communities. What they can offer is a deep-centred understanding of the value of each person and a concern for their wellbeing. In this course we will be focusing mainly on the visual arts, as this is my primary discipline. Throughout, I will be using the term ‘art’ to refer to creative action making visual artefacts and ‘wellbeing’ as the care of the whole of a person – mind, body and spirit/soul. Why art? Much has been written about the benefits of making art and I may well be repeating the comments of others: but in our visually savvy yet often incoherent society these things are worth saying again. Making art enables people to talk about things in a different way. Most of our communication is based in the left side of the brain: writing, talking, and other everyday activities such as driving all use the left brain. Art is right-sided and so accesses the intuitive and perhaps more indefinable parts of our knowing and feeling. For this reason, participants in my workshops often find that by expressing their ideas in pictorial form they discover a new understanding of their lives. Within a community context this is perhaps one of the most

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Soul art valuable attributes of making art, for when those we work with may not have good literacy or verbal skills, the visual can be a key to unlock communication and self-awareness. Art uses symbols. By this I mean those images which overarch culture, community and tradition. For example, the cross, although most often associated with Christianity, can be found in ancient Mayan pictures, Aboriginal sand drawings, and ancient Egyptian culture (the ankh); and the crescent moon, although most usually affiliated with Islam, is also an ancient Pagan and Celtic symbol. The use of common imagery and form taps into a primal part of our soul and can have profound meaning not only for those who use such images but also for those who view them. Making art or being creative slows us down. This is visually countercultural in contemporary experience: most people spend a large part of their lives scrolling though image after image without spending much time with any of them. In her book How To Be a Craftivist: The Art of Gentle Protest,1 Sarah Corbett talks about the vital role that such considered making can have, even for activism: it enables us to sit with an issue rather than respond with a knee-jerk reaction. But also, there is something about the effect of engaging in artmaking which knits with the very popular idea of mindfulness – being in the moment and removing the stress of worrying about the past or the future. I believe it can also be akin to prayer. Becoming still in order to create helps us to focus on the divine within and without us: that which is referred to as ‘the sacrament of the present moment’.2 Connected to slowing down is the idea that by taking time to notice what we see around us we find a deeper appreciation for the world we live in and those with whom we live. This ‘attitude of regard’, as the Desert Fathers called it, fosters a sense of connection with our world and with the divine within it. We learn to gaze rather than glance.

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Introduction Creative practice is visceral. In our contemporary society we spend a large part of our time dominated by our thinking. Manual labour is on the decrease, and entertainment is often electronic and non-physical. Even our friendships are virtual. I believe that reconnecting with our bodies is a vital part of personhood and is a means of rediscovering an earthed spirituality, grounded in the physical world in which we live. This chimes with the ancient British Celtic tradition of a faith of wholeness, and is crucial when thinking about wellbeing because, try as we may, we cannot separate our souls from our bodies! In a community context, creativity is a powerful tool for improving communication and developing positive group dynamics. I have seen a group of reticent people visibly relax and then start to talk about their lives as they become absorbed in making a mosaic or sewing a patchwork quilt. There is something very meaningful about sharing a creative task: the common goal and satisfaction of making art together and the need to concentrate on careful and skilful tasks all enable a communality, even with strangers in a group. On the back of this, there is obviously something deeply affirming about having made a beautiful or powerful work of art. There is a sense of achievement at learning new skills, and at being able to express oneself through imagery. There is also the joy of sharing the end result with an outside audience or within a group. This may also be a private revelation of a personal treasure which has been made to incorporate meaning between the individual and the divine, such as the placement of a creative artefact on a windowsill in the home.

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Soul art Community Art or Fine Art? This course combines two strands of art practice which traditionally are wary of each other: Community Art has often had bad press in the professional art world, being seen as sloppy, while Fine Art is often regarded by the community as elitist. Professional art instruction tends to focus on learning skills such as watercolour painting or the ability to draw, as well as the importance of concept. Community Art aims to include everyone and so tends to employ craft-based activities because they are felt to be more accessible to those who question their own abilities or don’t feel confident. It does not always engage with complex meanings either. I believe both disciplines are equally valuable and have much to offer and should be learning from one another. The most successful projects that I have had the joy to work on are those which cross these boundaries and enable non-art-schooled members of the community to make something of great beauty and profundity. Making a workshop agreement When delivering workshops, it’s important that you create a safe space for all the participants. There are some key guidelines which can help you do this. When I start working with a new group, I always talk about four principles, which are not draconian laws but ‘rules of thumb’ or perhaps closer to monastic ‘rules’ – ways of living and being. These are about putting judgement aside and placing more emphasis on process rather than product, the importance of maintaining confidentiality and working together with respect. Together these will be referred to as ‘the agreement’ in session plans because it is something that participants are invited to agree to, a collaborative decision between all involved in the session: the facilitator, the participants and any other people that might be involved. I will outline these in detail in the chapter titled Practicalities. Have fun! All of this sounds very serious. But do remember that making art and even the potentially more intense process of art-making for self- or group-exploration can also be extremely enjoyable. The sessions in this book are designed to allow a pleasurable and meaningful approach to wellbeing work. I hope

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Introduction that you will find them a valuable resource. Yet they are only a beginning! There are many other ways to enable and support people’s wellbeing through art and the creative process. Although there is a planned progression across the course structure, the sessions don’t have to be used in the order I have laid out, or even in their entirety: individual sessions will work equally well as stand-alone events. So do take from this book whatever you think might work for you and for your community. This is my gift to you and the people you care about and it comes with my love.

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Soul art

Praicali In this chapter we will look at the practicalities you will need to consider when planning your art and wellbeing sessions. We will cover the ‘agreement’, timeframes, space, groups and materials. The agreement As mentioned in the introduction, there are some guidelines that are extremely useful for delivering the following workshops, and which will be referred to as ‘the agreement’. These are as follows: Process not product. This is also a helpful way of enabling people to relax into the session. In our goal-driven society, we tend to focus on the outcome. Within the context of soul art, the emphasis should be on the journey, not the destination. By reminding people of this, we take the pressure of ‘success/failure’ off them and also bring their attention back to the moment. I’ve always found that when we take our eyes off the end result, we often create a better product. All artists will tell you that ‘playing’ is a vital part of the creative process and can’t be rushed for the sake of a deadline. Quality (not quantity) comes from time spent experimenting, making ‘mistakes’ and thoroughly exploring an idea or a material. In their book Art and Fear 3 David Bayles and Ted Orland tell the story of a ceramics teacher who divides the class into two groups – one to be graded on their output and the other on the quality of their work. Surprisingly it was the ‘quantity’ group who produced the best work because they kept making and learning from their mistakes – whereas the ‘quality’ group spent their time talking about perfection rather than creating. Respect. It is worth underlining the idea that everyone, whoever they are and whatever their belief / lifestyle / tradition / experience should be treated with respect. We might find other people’s opinions and attitudes difficult, and some

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Practicalities of these may need to be gently challenged, but mutual respect allows everyone to have a voice, and to share in a safe and fair environment. Although the way we communicate might be different depending on our context (a youth club will use different words and explore different issues from a senior citizens’ luncheon club, for example), the principle remains the same. An important element of this principle is that everyone has a voice: that we listen well and give time to even the most reticent of participants. You may need to make a point of asking people to let one person talk at a time, and to wait until they finish before responding. It may be necessary to ensure that those with disabilities can participate fully: for example, to allow for hearing impairment by asking people to speak up or to make sure they face those who cannot hear. You may ask certain participants to avoid jargon which others in the group do not understand. You may need to underline that certain terms and words are unacceptable because they are racist, ageist, sexist, classist, nationalist or homophobic. Non-judgement both of oneself and of others. This is closely related to the principle of respect. It is hugely important because it paves the way for people to relax, enjoy their session and get creative. We all have an inner critic. Even those of us who have made art for decades will tell you that the monster still exists. It is worth reminding people that they can and should ignore this beast, which is probably the worst enemy of creativity, but also encourage them, within the confines of the group, to avoid any judgement of each other. This does not mean that we cannot reflect on one another’s art practice, but that we do this in a constructive and thoughtful way. Confidentiality. The hope is that people will find a safe space to share personal thoughts and feelings and be able to ‘dig deep’ should they wish. It’s worth spelling out the need for confidentiality to the group so that no one feels unnecessarily vulnerable or exposed. What is shared in the group stays

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Soul art in the group. However, just in case anyone shares something during the workshop that gives you concern that they or someone else may be in an abusive or dangerous situation, you must be aware of your organisation’s safeguarding policy. This should already be in place. It is your responsibility as a leader to know what procedures it outlines and to follow them, should this become necessary. Timeframe Although each session will vary depending on the activity and the conversations, I would allow 2-3 hours per workshop (contact time). You will also need to allow for your own time preparing a session: which may include processes like photocopying, internet research, collecting materials, setting up the room, and also time to clear up afterwards. In general, you will have to allow another 1-2 hours on top of the contact time for this ‘behind the scenes’ work. Although I have allowed some tidying away time below, you may well find that you will need to add extra post-session time for further clearing. My experience of tidying away with groups is that it can be quite chaotic, and because several people are all helping, different approaches to cleaning and clearing will be employed. For this reason, you may need to complete the process once everyone has gone, so that the room is ready for the next user and also the materials are ready for your next session. The temptation here is to allow everyone to leave all the tidying to you, because sometimes it can be easier. However, good workshop practice, which includes cleaning up after oneself, is an important principle of art-making, and it instils a sense of responsibility and ownership in those involved. A way of helping yourself with this is to explain how you want the room cleared at the beginning of this part of the session. It is worth your while working out ahead of time exactly how you would like participants to tidy away: for example, how to clean paint palettes or brushes, which spare materials to save and how, and which ones to scrap, whether you have a recycle bin for paper, where to keep artwork and paper resources. Another possibility post-session is that participants might want to talk to you privately about something that has come up for them during the session. This could be anything from an issue they want to talk over, to an art process

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Practicalities they want to know more about. Just be aware that you may need to allow extra time for this. Generally, the session format (contact time) allows for: Intro: 15 minutes Starter activity: 20–30 mins Meditation: 15–30 mins Main activity: 45 mins–1 hour Reflection: 15–20 mins Finishing off and tidying: 20–30 mins Breaks: maybe 2 of 15 mins each Room layout Be aware that people need elbow room to make art! For this reason, the room you are using may dictate the size of the group. Imagine an A1 piece of paper as the ideal breathing space for each participant. Groups that know each other are more likely to feel comfortable about sharing personal space, so another consideration is whether you are working with an existing or new group. Working on communal tables will be both necessary, because of resources and space, but also beneficial, as people can share and talk more easily: but, as mentioned, allow space for creativity and also personal time. In each session I have made suggestions about where to place art materials. It’s usually helpful to have a side table where everything is set out that’s going to be needed. Other resources, such as images for inspiration or meditation texts, can be kept separately and revealed as needed. As before, I have made suggestions in the session outlines about the use of some of these. A water source can be an issue. If there isn’t a sink in the room, I suggest that you invest in a couple of sturdy buckets which can be filled with water so that they are ready for the start of the session: one bucket for participants to use in their processes (for example, they will need their own jars of water for watercolour painting) and another for cleaning tools etc. Some of the sessions require extra space, either for an activity or for a reflection. You will need to work out if this is possible for you, and how. Sometimes it’s helpful to bring everyone together around their artwork, or for a group meditation, and this might involve moving tables around. For this reason, I

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Soul art have mainly planned these at the end of the sessions, for a minimal amount of disruption. Extra space could be simply the corridor to the room, or a garden, or community hall. Group size As mentioned, the room will dictate this for you on the whole. A group larger than 15 people can become difficult to manage. Getting to know your group can be challenging but I find that remembering people’s names as soon as possible goes a long way. If you need name badges to help you with this, then this is probably better than calling someone the wrong name! However, try to avoid this and learn names as quickly as possible so that badges are not needed for many sessions, as it feels a bit formal and educational. You could try using an ice breaker which helps everyone remember each other’s names. Something I have found useful is to reflect names back to people: when I am first getting to know them, I use their name as immediately as possible when talking to them. This embeds their name in my memory. Materials Invest in some basic tools such as palettes, mixing dishes and water jars. These can all be created using household objects such as old plates or paper plates, jam jars, and Tupperware or other plastic dishes (takeout ones or the containers that you buy vegetables and meat in from supermarkets are perfect). You will also need a good stock of cleaning cloths: these can be shop bought or repurposed from cut up scrap clothing (rags). You might also need bin bags if they are not provided where you will be working. Old newspapers are very useful for protecting tables and general cleaning. Another useful item is some disposable plastic sheeting to protect tables and, if necessary, floors. This can be sourced for free from places like carpet shops, where they often discard product wrapping, and is a good way of recycling. I have included a comprehensive list of materials, such as pencils, paints, glue and brushes, in the appendix. This includes those which you will need across the whole of the course plus specific needs for particular sessions. Now all of the basics are in place, we can start our course outline.

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Session 1:

Hands 

Our identity ‘Look at your hands, see the touch and the tenderness’4 ‘A great exercise that allowed folks of all ages to interact, share and spend time learning from and with each other. More please!’

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Soul art l l l l l l

Introduce the agreement Hands up It’s in your hands Handprint Reflection To finish

Materials A2 cartridge paper A4 paper – can be computer or recycled paper Pencils Felt tips Marker pens Paint Brushes Chalk pastels Tissue paper Coloured pencils Scissors Glue Tea lights (LED) Music Preparation l

Lay out all your materials on a side table. If you are using buckets for water, place these near the materials table. Make sure you have practised the finger holds so that you can lead with a calm demeanour! Make sure you have enough LED tea lights for everyone in a bowl / tin / basket so that they can be handed out easily. It’s always worth checking that each one is working too.

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Session 1: Hands on Introduction l

Start the session by introducing yourself then asking each person to do the same. You can use a simple icebreaker at this stage such as asking, ‘What did my hands last do?’ (before I got here) Introduce the course – the aim is that everyone has an experience which is: Å supportive – caring, gentle Å creative and enabling wellbeing – art as a way of healing Å reflective – a chance to think about our lives and work on our inner health.

The agreement This is probably your first session and so it is vital not only to introduce the guidelines but to make people feel as welcome and as safe as possible. Explain that this is not a conventional art class but a creative space where the participants can enjoy making, thinking and feeling without judgement. They will have the chance to learn some skills as part of the session and hopefully enjoy being creative with other people, but they will also be given the opportunity to think about their lives a little more deeply. I find a welcoming cup of tea with biscuits goes a long way and, as mentioned in the Practicalities chapter, it is a good idea to try and learn names as soon as possible. Gently introduce the four aspects of the agreement. A good way to get people involved at this early stage, especially if this is an established group who feel comfortable with each other, is to ask them what they think the four principles (process not product, non-judgement, respect, confidentiality) might mean to them, and then to expand on their ideas. Hands up Give each participant an A4 and an A2 sheet of paper. Invite them to draw around their hands (both) onto the A4 paper. Suggest that they think about how they use the space of the paper to create a design: maybe the right hand facing in one direction, and the left in another (moving the paper to achieve this), or with the hands overlapping etc. After this has been completed, which might be at different times for different people, ask participants to copy their design onto the A2 sheet using a pencil. It might help them if they turn their

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Soul art A4 design upside down: this is because the picture then becomes an abstract image and so easier for them to copy exactly without feeling nervous or exposed. A top tip for helping people to draw from another image or object is to get them to look at the shapes in between. In this case that would be the spaces between the hand shapes and around the fingers as much as the hands themselves. This is called ‘negative space’. Once they have transferred their hands design onto the A2 paper, ask them to go over the pencil lines with a marker pen. This means that their design will still show through no matter what materials they choose to use to decorate it. When everyone has made an A2 image, ask them to turn their sheets of paper round together to reveal their hands at a larger scale. If some people have finished their A2 picture before others, they can have another cuppa, chat etc whilst they wait, as it’s important to turn the pictures around together. A helpful activity for those who are waiting and also for general use would be to have a pile of magazine images or postcards of hands that participants can look through to choose one or two to represent themselves. It’s in your hands Our hands are as personal to us as our faces. What do we use our hands for? We might have scars or ingrained dirt from different activities, and each of our fingerprints is unique. Once everyone has turned around their A2 picture, ask them to listen to the following meditation as a way of guiding their thoughts about their hands. It is worth asking them to make sure they are sitting comfortably and also to make them aware that they will be moving their hands as part of the meditation.

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Session 1: Hands on Hand meditation / action: Hold your hands up in front of you. Feel the weight of them, be aware of how they feel in the air. Each hand is as unique as you are. Each fingerprint is yours and yours only. No one else is like you. Now put your hands together. Feel the skin, the pressure of your palms, your fingertips. Our hands are amazing tools that help us do so many things. With them we feed ourselves, we communicate, we create beautiful things, and we work. Now hold one hand in the other, maybe clasp them together. With our hands we show love and affection, we give encouragement to others, we comfort each other, we say hello, we wave goodbye, we cuddle those we love. Now touch one set of fingertips to the other. Our hands help us feel everything around us. They are vital when our other senses can’t do this for us. When we’re in the dark or when we can’t see so well, they help us find our way, help us understand the outside world. So let us celebrate who we are, each of our special personalities, our ways of being in the world, our creativity, our kindness, our touch on the world.

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Soul art Handprint This is an opportunity for the group to decorate their hand pictures to reflect their own personalities. They might want to think about: hidden spaces like the inside of their hands, between the fingers as opposed to the outside space around the hands / choice of colours / ways of revealing or covering parts of their hands / other words or pictures they might want to add, perhaps inspired by the magazine illustrations / postcards. As this is the first session, it is probably best to take people to the materials table and talk them through what you have available. At this stage, it’s a free choice between paint, coloured pencil, felt tip, pastel, collage or any other way of adding colour to the image. When explaining the materials, encourage participants to ‘have a go’ at anything and in any combination. You may have to explain some basics such as what to use to apply glue, or how to clean brushes. The participants might find that, as they start making, different materials suggest themselves to them. They might also become frustrated with a certain material and need to choose another. Remind them that there is no judgement about choice of materials or changing tack as they work. Anything goes. I would allow three quarters of an hour for decorating the hands. I also often play ambient music during this type of activity. Again, if people finish early, they are welcome to chat, have a cuppa. Reflection At this first session I wouldn’t hold a formal reflection but use a calming technique such as this finger-hold exercise, which originates from Indonesia. Ask everyone to shut their eyes and sit comfortably with their hands in their laps. Then ask them to start by holding the thumb of their lesser-used hand with the other hand in a comfortable grip, not too hard, fingers around the thumb (see first picture opposite). Explain that we are going to use our hands as a way of de-stressing and relaxing at the end of our first soul art session. Ask people to start with their thumb and work through each finger to the little finger. As they hold each finger, ask them to consciously let go of negative feelings (see diagram opposite). I find it helpful to ‘accept’ positive feelings instead: for example, ‘let go’ of sadness, and ‘accept’ joy. If you are a faith group, you can invite God to bring joy/peace etc as you work through each finger.

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Session 1: Hands on

My suggested negative feelings and positives are as follows: Thumb Forefinger Middle finger Ring finger Little finger

sadness / joy fear / courage anger / resolve worry / peace self-doubt / affirmation

At the end, take a moment to hold the whole of one hand with the other, before opening your eyes.

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Soul art To finish Give out tea lights (LED ones are good for safety) and invite participants to place their ‘lit’ candle where they wish on their A2 hand pictures. Allow a few minutes for everyone to look at their artwork. This can be a silent activity or, if members of the group know each other well, they may want to look at each other’s artworks and chat. You might like to finish by reminding everyone of the finger holds, and lead with these words: Remembering our ﬁnger holds, look at what your hands have done today and be … Happy. Brave. Conﬁdent. Calm. Proud – of who you are. Remind the group of the next session. You can invite interest by mentioning what you will be doing next time and remind them that they are welcome as and when they can come. If they intend coming to the next session, you will need to ask them to spend some preparation time during the period between this session and the next by collecting images or thoughts that appeal to them. A good way to do this is by taking photos on their mobile phones (most people have a smartphone these days) and to make sure they bring these to the next session, as they will need them. If possible (but not necessary) it would also be good if they can collect some flat objects which have texture (things like leaves, lace etc) as they will also be using these for the next session.

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Wild Goose Publications, the publishing house of the Iona Community established in the Celtic Christian tradition of Saint Columba, produces books, e-books, CDs and digital downloads on: l l l l l l

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