墨舞将身体精神和中医作为艺术疗法的资源注释.docx
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墨舞将身体精神和中医作为艺术疗法的资源注释
原文
翻译备注
INKDANCE:
BODY,MINDANDCHINESEMEDICINEASSOURCESFORARTTHERAPY
墨舞:
将身体、精神和中医作为艺术疗法的资源
JaneFerrisRichardsonEdD,ATR-BC,RPT-S,AndreaGollubM.Ed.,ATR-BC,WangChunhong
Wearewritingthischapterinthreevoices.Theyarewoventogetherinharmonywithmanydifferentthreads.OurcollaborationinBeijingattheThird“ArtandNaturalHealthConference”in2009deepenedoursharedawarenessoftheroleofbothbodyandmindinthecreationofart,andofnewpossibilitiesforarttherapypractice.WangChunhong’sconcernasourhostwastohelphercolleaguesintegrateWesternarttherapyapproacheswithcreativeChineseapproaches’tohealing.FromtheconferencesherealizedtheneedfortheculturesofEastandWesttoworktogethertobuildarttherapytheoryandpracticeinChina.TheWesterntrainedarttherapistsalsogainedanewperspective,onethatwillbelessfamiliartosomereaders.
Wang,whoistrainedasadancerandchoreographer,isalsotrainedintheTraditionalChineseMedicinetheoryofZangXiang.Sheintegratesherexperienceinhealing,dance,andartintoherowntherapeuticapproachthatshecallsDaDanceTherapy.Wangfeelsthatshemustuseallthedimensionsofthearts(sheincludesChinesemedicineasanart)tohealalldimensionsoftheclient’sproblem.
ArttherapyinBeijingisinthebeginningstages.FuturearttherapistsfromBeijingmuststudyabroad,sincetheonlyuniversitycreativeartstherapyprogramisinMusicTherapy.ProgramsinMusicTherapyareofferedineightdifferentuniversities(Wang2009).Dimensionalartdancecoursesarealsoofferedinmanyuniversities,thanksinparttotheeffortsofWang.DancetherapytrainingisnowofferedinclassifiedcoursesatBeijingGeelyUniversity.WangcreatedanInternationalConferencetoexploretheseinterconnectionsbetweentheartsandhealingatatimeofcreativeexploration,andfoundationaldevelopmentofArtTherapyinChina.
我们现以三种不同的声音来书写这一篇章,这些声音被一条条线谱交织在一起,充满了和谐之韵。
2009年,在北京举行的第三届“艺术与自然健康会议”中,我们的合作进一步加深了一个共识:
在艺术创作中,身体与精神相互作用。
同时,艺术疗法的现实可行性也呈现出新的希望。
作为会议的主办人,王春红女士的着眼点在于帮助她的同事把西方艺术治疗的方法与创新性中式疗法融为一体。
通过这次会议,王女士意识到,为了共同建立艺术疗法理论体系并在中国实施,中西方文化必须紧密合作。
在西方,一些训练有素的治疗专家也产生了一个新观点,然而它对有些读者来说,还不是那么熟悉。
王接受过舞蹈演员和舞蹈指导的培训,王女士也接受过一些传统中医学藏象理论的训练。
她把她在治疗、舞蹈和艺术方面的经验融合在一起,形成自己的一套治疗方法——她称为“多维乐舞疗法”。
王女士认为,她必须利用艺术(她认为中医也是艺术的)的所有空间维度来治疗来访者的全部相应症状。
在北京,艺术疗法还处于初级阶段。
想成为艺术治疗师必须去海外学习,因为国内高校里,连唯一一个有艺术疗法的项目都还包含在音乐疗法课程中。
不过已有8所大学开设了音乐疗法的课程(王春红,2009)。
得益于王女士的努力,许多大学还开设了多维乐舞课程,而且舞蹈疗法训练也包含在北京吉利大学的分类课程里了。
王女士还创立了一个国际协会,用来探索开创探索时期里艺术与治疗的相互关联以及中国当前艺术疗法的基本发展状况。
ArtTherapyInfluencesCorrespondingtoDaDanceTherapy
AndreaGollubandJaneRichardson’seducationatLesleyUniversitytookplacenearthebeginningofarttherapymaster’sleveltrainingintheUnitedStates.Thistrainingincludedamoreeclecticandnon-traditionaltherapeuticapproach,onethatisnotalwaysconsideredmainstreamintheprofessionofarttherapy.Ourcoreprofessor,ShaunMcNiff(2009)wroteabouttheconnectionsbetweentheexpressiveartstherapiesandsystemsofhealingbasedonatheoryofcorrespondences,suchasTraditionalChineseMedicine.Thisarticulationwasstilltocomewhenwebeganourgraduatework.Therewasonepublishedworkthatforeshadowedtheintegrationofalltheartsinarttherapy,FlorenceCane’s(1951)TheArtistinEachofUs,withanemphasison,“freerhythmicuseofthebodyinbreathing,movementandsound”(p.37)asnecessaryelementsofpainting.McNiff’sworkwithhisclientsandstudentssimilarlydrewonexpressivemovementasasourcetoinspireexpressiveart.ThisintegrationoftheartsintherapywassimilartowhatweexperiencedinChina.
Cane’sdaughter,KatherineCaneDetri(1985),reflectedonthismulti-modalperspectiveinherforwardtothereprintofhermother’sbook.Shediscussedthetraininginvariousmovementandrelaxationtechniquehermotherreceivedandthencommentedthathermother:
wasopentoeverynewwaveofenergythathelpedfreethehumansoulandbody.Shebecameinvolvedwiththenewartofthe20’s…latershebecamedeeplyinterestedinEasternPhilosophy.(p.iiii).
Caneexploredthemind-bodyconnection,andtogetherwithhersister,MargaretNaumburg,developedthescribbletechnique,whichincorporatedmovementandbreathawarenessinthecreationofapieceofartwork.Cane’sdeepfamiliaritywithJungianapproachesmadeherveryawarethattheimageswhichemergedcouldbecomingfromtheunconsciousoftheartist,andcouldbeusedtohelphealonadeeplyintegrativelevel.WhenwemetWangChunhong,andwitnessedherwork,shestruckusasakintoaChineseFlorenceCane.Ourreadinginarttherapyhistory,ourtrainingwithMcNiff,andourexperienceofChinesetraditionalhealingasacupuncturepatients,allhelpedtoprepareusforourcollaborationattheconference.InBeijing,welearnedfromart,andintuitivelylearnedfromoneanother.
艺术疗法的影响与多维乐舞疗法一致
安德烈·格鲁与简·理查德森曾就学于美国莱斯利大学,他们在此所接受的教育差不多是从硕士级别的艺术疗法训练开始的。
这种训练包括一种更折中、更非传统的医疗方式,而该方式在专业艺术疗法中却处于非主流的地位。
我们的核心教授肖恩·迈克尼夫在一本书中描述了表达性艺术治疗与诸如中医一样,以一一对应理论作为基础的系统疗法之间的联系。
这种联系在后来我们上研究生的时候也有涉及。
弗洛伦斯·凯恩在《我们心中的艺术家》一书中预测了艺术疗法中所有艺术的一体化,并认为“在呼吸、运动与发声时身体自由旋律的应用”是绘画中的必要元素。
迈克尼夫、他的患者以及学生的作品同样把表达运动当作一种激发表达艺术的源泉。
这种艺术综合于疗法的情况跟我们在中国所体验到的很相似。
凯恩的女儿凯瑟琳·凯恩·迪特利(1985)仔细考虑了这个多模式的观点,并表达了重印其母亲著作的愿望。
她对不同动作的训练和她母亲的放松技巧进行了一系列的讨论,而后对她母亲给出如下评价:
她对能够放松身体和灵魂的每一股能量都是很开放的。
她逐渐涉足二十年代的新艺术……之后她对东方哲学表现出极大的兴趣。
凯恩仔细研究了精神与肉体之间的联系,并和她的姐姐玛格丽特·农博格一起设计了一种涂写技术(注:
绘画治疗的一种技术),使得身体的动作与呼吸的意识能够结合在同一幅艺术作品的创作中。
凯恩熟知荣格的学说,这让她了解到突然闪入的意象可能来自于艺术家的潜意识,而且这种意象有助于深层次的综合治疗。
当我们遇见王春红,并且亲眼目睹她的杰作时,我们震惊地意识到她是多么像中国的弗洛伦斯·凯恩。
我们在艺术疗法的历史方面的阅读,我们受到的训练,以及我们在中国传统针灸疗法方面的经历,都为我们在这次会议上的合作做出了准备。
在北京,我们从艺术上学会了很多,同时我们也本能地互相学习。
TheHeart-MindAndTheHeartPrint
TheforeigntherapistsexperiencedbothancientandcontemporaryChineseartasanintegralpartoftheconference.WevisitedtheForbiddenCityandthe798DashanziArtCenter,wherewesawcontemporarypaintingscreatedwiththetraditionalChinesematerialsofbrushandink.Wenoticedthattheancientconceptofheart-mind,or“hsin”,(Sze,1992,p.618)asaunifiedconceptstillseemedverypresentinmuchofthecontemporarywork.WelearnedthatpaintingistraditionallydiscussedintermscloselyconnectedtoChinesephilosophy,andthatpaintingactuallyshowsus,throughavisuallanguage,theChinesephilosophyoflife(VanBriessen,1998),andbeliefsabouttheheart,mind,andspirit.
Fu(2009),apresenterattheconference,describedtraditionalChinesehealingas“anartofmedicine”(p.42),thatworks,asartdoes,withthemindandspiritaswellasthebody.ThetraditionalfiveelementsoftraditionalChinesemedicine:
wood,fire,earth,metal,andwater,areasconnectedtoartastheyaretohealing.Theflowofenergyisavitalprocesswithinthebody,withinart,andwithintherelationshipoftheartistandthepaintedworld.Thisdynamicisequallytruewhethertheartistisayoungwomanwithspecialneedspaintingintherapyoranaccomplishedprofessionalpainter.
TheMustardSeedGardenManualofChinesePainting(Sze,1992),atraditionaltextfortheeducationofartists,discussestheconceptofheart-mindasparticularlysignificantforthepainter.However,theheartandthemindareequallyconnectedfortheartistandtheviewerwithinthetraditionalChineseviewofart,where,“theactofpaintingisnotseparatefromtheflowoflifeitself,andpaintingisseenasinfusedwithqi,orenergy”(RichardsonandDemaine,inBrooke,S,inpress).ThismovementofqiisthebasisofthefirstprincipleofChinesepainting,whichis,“resonanceofthespirit:
Movementoflife”(VanBriessen,1998,p.110).Whentheconnectionbetweentheinnerspiritandenergyoftheartist,andtheouterformofthepaintingbecomesvisible,apaintingmaythentrulybeseenasa“heartprint”(Hearn,2008,p.106)oftheartist,authenticandresonant.Yettheheartprintisnotanexpressionofemotionalone.AscontemporaryinkpainterQiuTing(inSheng,2011),wroteofhispaintingprocess“Ifeltmyhandandbrush,heartandmindwereallinthebestpossiblepartnershipwithoneanother”(p.172).
ThetraditionalChineseartistalsoworkstowardscreating,“notsomucharealisticimitationoftheworldaroundhim,butrather...theexpressionofamoodorfeeling”(VanBriesseninRichardsonandDemaine,inpress).Therelationshipimplicitinapaintingisalwaysanimportantelementofeveryartist’sworkingprocess:
apracticeverycongruentwiththatofarttherapy,andalsowithWang’sDaDancetherapy.
Wangweavestogetherartandmovementinaseamlessflowasshehelpsclientstointegratetheheartandmind,andtodeveloptheclient’sconnectiontotheworld.Asatraditionalhealeraswellasacreativeartstherapist,sheworkswithintheframeworkofTraditionalChineseMedicine.Thecoreconceptsconsistofbalancingenergyandworkingwiththefiveelements,whicharepresentinalllivingthings.WeWesterntherapistsrealizedthatshepossessesaninnateunderstandingofthe“creativecycle”ofthefiveelementalenergies,which,togetherwiththe“controlcycle”worksdynamicallyinthebalanceandtransformationofenergy(Reid,1994,p.52).IntheChineseview,thetransformativeprocessofartmakingisparalleledbythetransformativemovementofenergywithinthebody.
TheconnectionbetweentheconceptsofartandhealinghasbeenincreasinglyacknowledgedinWesternviewsofhowarttherapyworks.AsMcNiff(2004)remindsus,“(t)herewasatimenotlongagothatthementionofthewordhealingevokedsuspicionwithinthearttherapycommunity.”Now,asMcNiffnotes,“InthefirstsentencethepresentmissionstatementoftheAmericanArtTherapyAssociationdeclaresthatthemakingofartis,‘healingandlifeenhanci